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RESEARCH  LIBRARY 
THE  GETTY  RESEARCH  INSTITUTE 


JOHN  MOORE  ANDREAS  COLOR  CHEMISTRY  LIBRARY  FOUNDATION 


HOW  TO  MAKE 


GOOD  PICTURES 


J ^ BOOK  for  the  Ama- 
teur Photographer 
published  by  the  East- 
man Kodak  Company, 
at  Rochester,  New  York, 
The  Kodak  City. 


Index 


Angelo  Platinum  Paper, 

126 

Lighting,  (Outdoor) 

- 

40 

Amateur  Portraiture  by  Flashlight,  63 

Loading  with  Film, 

- 

- 13-14 

Autotime  Exposure  Scale,  - 

27 

Loading  with  Plates,  - 

- 

14 

Architectural  Photography, 

42 

Measures  and  Weights, 

- 

154 

Backgrounds, 

- 38-56 

Mounting,  - 

- 

109 

Bromide  Paper,  - - - 

- 129- 140 

Outdoor  Work, 

- 

- 31-42 

Brownie  Enlarging  Camera, 

- 142-145 

Orthochromatism, 

- 

- 15-17 

Cameras,  - 

5-1 1 

Over-Development, 

- 

- 88-89 

Camera,  Choice  of 

5 

Platinum  Papers,  - 

- 

125 

Clouds, 

- I47-I50 

Portrait  Attachments,  - 

- 

60 

Composition,  ... 

- 37-51 

Portraiture,  - 

- 

- 43-74 

Dark-Room  Development,  - 

- 90-92-95 

Portraiture,  Flash 

- 

- 63-74 

Defective  Negatives,  - 

- 8889 

Portraiture,  Outdoor  - 

- 

- 44-57 

Development, 

- 79-98 

Posing,  - 

- 

- 51-53 

Developing  with  Tank, 

- 80-92-96 

Printing, 

- 

- 104-118 

Developer  Formulae,  - 

- 85-97 

Printing  Out  Papers,  - 

- 

118 

Developing,  Paper, 

105 

Rapidly  Moving  Objects, 

- 

- 31-35 

Diaphragms,  - 

- 9-12-17 

Reduction, 

- 

88 

Drying  Film  Negatives, 

87 

Reflectors, 

- 

78 

Enlarging,  - 

- 129-145 

Rising  Front, 

- 

28 

E.  B.  and  E.  S.  Platinum,  - 

127 

Sepia  Tones  on  Bromide  Paper, 

112 

Exposure,  - 

- 15-22-27 

Sepia  Tones  on  Velox, 

112 

Fixing  Films  and  Plates, 

86 

Shutters, 

- 

19 

Fixing  Velox, 

107 

Solio,  - 

- 

118 

Flashlight  Work, 

- 63-78 

Speed  Pictures, 

- 

- 31-35 

Flash  Portraiture, 

- 63-78 

Stops,  - 

- 

- 9-12-17 

Focusing,  - 

19 

Street  Photography, 

- 

41 

Focusing  Scale,  - - - 

20 

Tank  Development, 

- 

- 80-92-96 

Glossary,  - - - - 

- 156-160 

Timing,  - 

- 

22-27 

Home  Portraiture, 

- 43-62 

Toning,  - 

- 119-121 

Intensification,  ... 

89 

Trimming.  - 

- 

154 

Interiors,  - 

42 

Under- Development,  - 

- 

89 

Kodak  Film  Tank, 

80 

Velox,  - 

- 

99-118-141 

Landscape  Photography, 

- 37-40 

Velvet  Green, 

- 

117 

Lantern  Slides,  - 

- I5I-I54 

Washing  Film  Negatives, 

- 

87 

Lenses,  - 
Lighting,  - 

6-12 

40-41-43 

Weights  and  Measures, 

* 

155 

THE  GETTY  RESEARCH 
INSTITUTE  LIBRARY 


Preface. 

“How  to  Make  Good  Pictures,”  the  title  of  this  book, 
explains  its  mission. 

We  can  only  add  that  in  it  all  photographic  processes 
have  been  reduced  to  the  simplest  form  consistent  with 
good  results — that  no  complex  theories  are  exploited  or 
unworked  out  experiments  introduced. 

We  have  given  prominence  to  the  Kodak  system  of 
pidlure  making  because  time  has  demonstrated  its  suprem- 
acy for  the  producing  of  good  results  in  the  simplest  way. 

EASTMAN  KODAK  COMPANY, 

Rochester,  N.  Y. 


A Market  Boy. 


The  Choice  of  a Camera. 


Ten  to  twenty  years  ago  it  was  customary  to  open  a book 
on  photography  for  the  amateur  with  a discussion  of  the  relative 
merits  of  film  and  plate  cameras.  Such  discussion  is  no  longer 
necessary  for  film  quality  has  for  many  years  equalled  plate 
quality.  As  to  the  superior  convenience  of  film  there  has  never 
been  any  argument. 

In  addition  to  extreme  lightness  and  compactness,  combined 
with  great  durability,  the  film  camera  possesses  the  advantage  of 
loading  and  unloading  in  full  daylight ; in  fact,  with  the  cartridge 
film  camera,  every  process  from  loading  the  camera  to  the  fin- 
ishing of  the  print  may  be  accomplished  in  ordinary  light. 

The  sensitive  film  upon  which  the  image  is  impressed  by 
the  action  of  light,  put  up  in  its  convenient  and  compact  daylight 
loading,  cartridge  form,  weighs  but  one  twentieth  as  much  as 
its  equivalent  in  glass  plates  with  the  necessary  holders,  is  non- 
breakable,  and  may  be  developed  without  the  aid  of  the  dark- 
room. 

In  speed  and  quality,  the  Eastman  N.  C.  Film  is  equal  to  the 
finest  portrait  plates;  it  is  proper  in  orthochromatic  balance,  and 
has  become  the  most  dependable  of  photographic  products. 

With  the  perfection  of  the  modern  finder,  the  necessity  for 
viewing  the  image  on  the  ground  glass  screen,  is  far  more  imag- 
inary than  real,  and  with  the  extremely  accurate  scales  supplied 
on  all  focusing  Kodaks,  the  correct  estimating  of  distance  for 
sharp  focus  is  a very  simple  matter. 

And  with  all  of  the  folding  Kodaks  (3$4x4*4  and  larger)  the 
use  of  glass  plates,  and  the  ground  glass  screen  is  made  possible 
by  means  of  a simple  combination  back  or  adapter  taking  the 
place  of  the  regular  back.  It  is  safe  to  say,  however,  that  the 
glass  plate  and  screen  focusing  feature  will  be  but  rarely  em- 
ployed, and  then  only  when  one  wishes  to  make  an  exposure  or 
two  around  the  house. 

In  the  selection  of  any  particular  Kodak,  the  safe  rule  is  to 
buy  the  best  the  purse  will  allow,  bearing  in  mind,  nevertheless, 
that  satisfactory  pictures  are  made  with  even  the  least  expensive 
of  the  Kodak  or  Brownie  cameras. 

Practically  all  of  the  amateur  work  to-day  is  made  with  the 
small  film  camera.  In  many  of  the  amateur  photographic  exhibi- 
tions and  salons,  you  will  see  large  pictures,  but  in  most  cases 
the  foundation  for  these  pictures  was  a small  film  negative. 


© 


THE  CAMERA . 


LENSES. 

It  follows  naturally,  with  the  variations  in  size  and  cost  of  the 
camera,  that  the  optical  equipment  will  vary  in  the  same  propor- 
tion, and  the  user  of  any  lens  should  familiarize  himself  with  its 
limitations  as  well  as  its  capabilities,  always  bearing  in  mind,  how- 
ever, that  the  lens  equipment  of  any  Kodak  or  Brownie  camera 
will  afford  perfect  results  within  its  limitations. 

Lenses  commonly  used  in  hand  cameras  may  be  divided  into 
three  classes : “Single”,  composed  of  one  piece  of  glass,  “Single 

Combination”  (sometimes  also  called  simply  “Single”),  composed 
of  crown  and  flint  glass,  and  “Double  Combination”  (often 
called  simply  “Double”)  consisting  of  two  single  combinations. 
Lenses  of  the  highest  correction  and  with  superior  covering  and 
illuminating  power  are  broadly  classed  as  “anastigmats”  and  will 
be  compared  with  the  ordinary  type  later  on. 


Single  Lenses  are  made  in  two 
Single  forms,  meniscus  and  plano-convex. 

Lenses:  The  meniscus  form,  giving  the 

best  definition,  is  always  employed 
except  in  the  cheapest  class  of  cameras.  These 
lenses  are  always  mounted  behind  the  diaphragm 
which  controls  the  amount  of  light  to  be  admitted 
through  the  lens. 

Meniscus 

a c b 

Double  combination 
Double  Com-  ienses  are  usually  of 

bination  the  form  shown  in 

Lenses:  the  cut  and  consist 

of  two  meniscus 
lenses  mounted  with  the  diaphragm 
between. 

A,  Front  Combination.  B,  Back 
Combination.  C,  Stops. 

Double  Lens. 

All  glass,  when  ground  into  lenses,  has  the  qual- 
Corrected  jty  of  dispersing  the  different  colored  rays  of  light 
Lenses:  so  that  they  will  not  focus  on  the  same  point. 

The  rays  which  act  on  the  sensitive  surface  of 
the  film,  and  produce  the  image,  are  those  from  the  violet  end 
of  the  spectrum  and  are  called  the  actinic  or  chemical  rays.  The 
visual  rays  are  from  the  red  end  of  the  spectrum,  hence  if  these 
rays  are  separated  by  the  lens  the  image  we  would  see  on  the 
ground  glass  is  not  the  one  which  would  make  the  picture.  For- 
tunately flint  and  crown  glass  have  different  dispersive  powers, 
and,  therefore,  one  can  be  made  to  correct  the  action  of  the 


Plano- 

Convex. 


THE  CAMERA. 


7 


other.  Hence  if  we  assume  that  with  a non-achromatic  lens  such 
as  shown  in  the  cut,  the  visual  focus  would  be  at  C,  the  chemical 
focus  would  be  at  A.  Flint  glass  bends  the  chemical  rays  more 
than  does  crown  glass,  and  so  by  combining  a negative  lens  of 
flint  glass  with  a positive  lens  of  crown  glass,  the  chemical  and 
visual  rays  are  brought  into  coincidence,  i.  e.,  are  brought  to  focus 
in  the  same  plane  as  at  B.  The  lens  is  then  called  “achromatic”.  In 
a non-corrected  lens  even  the  chemical  rays  do  not  all  focus  at 
one  point,  but  in  small  lenses  the  dispersion  may  be  so  slight  as 
to  be  impossible  of  detection  in  the  picture  by  the  naked  eye. 


=*  A B 

Non-Achromatic. 


It  may  be  said  that  the  difficulties  of  lens  making  increase  in 
geometrical  ratio  to  the  size  of  the  film  or  plate  to  be  covered, 
and  many  forms  of  lenses  other  than  those  illustrated  herewith 
have  been  devised  to  overcome  these  difficulties. 

In  very  small  cameras  an  exceedingly  simple  lens  can  be  em- 
ployed, for  instance  the  lens  used  in  the  original  Pocket  Kodak, 
which  took  a picture  V/2  by  2 inches,  was  a single  meniscus  non- 
achromatic,  and  probably  no  lens  ever  had  higher  encomiums 
showered  upon  it.  The  reason  being  that  it  was  carefully  made, 
rightly  tested  and  inspected,  and  not  over  taxed.  As  a matter  of 
fact,  no  double  achromatic  lens  could  be  made  that  would  sur- 
pass it  in  brilliancy  or  covering  power.  For  larger  sizes  lenses 
must  be  corrected,  but  there  is  little  in  a double  lens,  except  that 
of  speed,  unless  3%  by  4%  or  larger  pictures  are  desired.  Single 
lenses  tend  to  slightly  curve  the  marginal  lines  of  the  picture,  but 
this  is  unnoticeable  in  small  pictures  and  is  unobjectionable  in  view 
work  of  any  size  unless  the  picture  contains  architectural  subjects. 

Double  lenses  can  be  worked  with  a larger  stop  opening  than 
single  lenses  and  are,  therefore,  quicker,  especially  in  the  larger 
sizes.  Such  lenses  are  almost  essential  for  4%  x 6^4  and  4x5 
snap  shot  work  and  are  preferable  for  3%  x 4%,  but  below  that 
the  advantage,  except  that  of  speed,  disappears.  Everything  depends 
on  the  quality  of  the  work  put  into  a lens.  Differences  of  curve  or 
polish  not  to  be  detected  except  by  an  expert  often  constitutes  the 
difference  between  a good  and  poor  lens  and  only  those  which  have 
been  through  the  most  rigid  inspection  and  trial  should  be  put  in 
a camera  by  the  manufacturer. 


8 


THE  CAMERA. 


“Fixed  Focus  Lenses”  are  so  often  mentioned 
Fixed  m catalogues  and  advertisements  that  the  impres- 
F cus*  S^°n  has  gained  ground  that  this  is  some  distinct 
11  kind  of  lens,  with  an  extraordinary  power  of 

focusing  all  objects  near  and  far  in  one  plane. 
There  is  no  inherent  quality  in  any  lens  that  makes  it  “fixed 
focus“ ; it  is  such  when  it  is  immovable  and  that  is  all.  Any 
lens  can,  therefore,  be  made  “fixed  focus”,  but  the  extent  to 
which  it  will  focus  all  objects  in  one  plane  depends  upon  its  length 
of  focus  and  size  of  stop  or  diaphragm  used,  and  upon  that  only. 
The  reason  for  this  is  that  the  rays  of  light  from  near  and  far 


A 

J 


objects  do  not  focus  at  the  same  point.  For  instance  in  the  exag- 
gerated diagram  shown  herewith,  we  will  assume  that  B is  the 
point  at  which  objects  100  feet  distant  will  focus  and  that  A 

is  where  objects  10  feet  distant  will  focus.  Now  the  distance  be- 
tween A and  B will  vary  in  ratio  to  the  focal  length  of  the  lens. 
In  a lens  of  three  inch  focus  it  is  ascertained  mathematically  to  be 
3-16  of  an  inch  and  in  one  of  twelve  inch  focus,  1%  inches. 

Hence,  if  using  a 3 inch  focus  lens  the  sensitive  surface  is  placed 
between  A and  B,  the  object  at  100  feet  and  beyond  (all  objects 

beyond  100  feet  come  practically  within  one  focus)  and  objects 

10  feet  distant  will  none  of  them  be  more  than  3-32  out  of  focus, 
which,  with  the  size  of  stop  ordinarily  used  for  snap  work,  creates 
so  slight  a blurring  of  the  image  that  it  cannot  be  detected.  Ex- 
perience has  shown  that  the  limit  of  focus  for  a lens  which  is 
to  be  employed  for  snap  shot  work  with  the  focus  fixed  is  under 
5 inches ; in  other  words,  that  a 3%  x 4%.  plate  is  about  the  largest 
that  can  be  used  to  advantage  under  such  circumstances.  It  is  pos- 
sibly true  that  for  cameras  of  this  size  and  under,  little  can  be 
gained  by  having  the  focus  adjustable,  and  that,  on  the  other  hand, 
better  average  results  will  be  obtained  with  a fixed  focus,  owing 
to  the  fact  that  there  is  no  adjustment  that  will  allow  the  lens  to 
be  put  out  of  focus  by  a mistake  in  estimating  distances. 

As  heretofore  stated,  aside  from  the  simpler 
Anastigmat  forms  of  lenses  there  are  those,  much  more  highly 
Lenses:  corrected,  and  calculated  upon  formulae  that  permit 

their  working  at  a much  larger  aperture  than  the 
rapid  rectilinear  lens.  Such  lens  are  termed  anastigmats. 

To  secure  a sharp,  satisfactory  negative  with  the  ordinary 
R.  R.  Lens,  its  opening  cannot  be  larger  in  diameter  than  one- 
eighth  the  focal  length  of  the  lens.  Such  opening  admits  suf- 


THE  CAMERA. 


9 


ficient  light  on  clear,  bright  days  to  obtain  well  timed  exposures 
even  as  fast  as  1-100  of  a second;  but  in  very  dull  lights  snap 
shots  are  impossible. 

But  with  an  anastigmat  the  construction  and  optical  correct- 
ions are  such  that  sharp  satisfactory  pictures  may  be  made  at 
an  opening  more  than  one-seventh  the  focal  length  of  the  lens — 
hence,  admitting  over  60  per  cent,  more  light  in  a given  time  than 
the  R.  R.  lens.  In  combination  with  a Focal  Plane  shutter  ex- 
posures as  short  as  1-1000  second  may  be  made.  And  on  dull 
days  and  even  indoors,  where  with  an  R.  R.  lens  little  or  no 
impression  could  be  obtained,  the  anastigmat  admits  so  much 
light  that  “slow  snap  shots”  may  be  made. 


GET  ACQUAINTED  WITH  YOUR  LENS. 

The  user  of  any  lens  should  familiarize  himself  with  its  limita- 
tions as  well  as  with  its  capabilities.  This  is  particularly  true 
in  the  case  of  the  Anastigmats,  and  we  therefore  ask  that  those 
who  are  not  entirely  familiar  with  photographic  optics  read  the 
following  brief  explanation,  that  they  may  get  the  full  benefit  of 
the  power  of  their  lens  and  that,  on  the  other  hand,  they  do  not 
ask  of  it  the  impossible.  It  should  be  borne  in  mind,  however, 
that  what  we  have  to  say  here  is  applicable  only  to  lenses  of  from 
5 to  8 1-4  inch  focus,  such  as  are  supplied  on  hand  cameras. 
These  directions  make  no  pretension  to  covering  the  entire  field 
of  photographic  optics. 

In  comparing  the  work  of  one  lens  with  another,  you  must,  first 
of  all,  remember  that  such  comparisons  must  be  made  with  a stop 
opening  of  the  same  relative  size  (/  value).*  In  comparing  the 
Anastigmat  with  the  ordinary  Rapid  Rectilinear  lens,  do  not  ex- 
pect as  great  depth  of  focus  with  your  Anastigmat  set  at  an  open- 
ing of  f.6.3  as  your  R.  R.  lens  gives  at  its  largest  opening,  /. 8. 
The  Anastigmat  at  /. 8 will  give  as  great  depth  of  focus  as  will  an 
R.  R.  of  the  same  focal  length  with  the  same  opening,  while  on 
the  other  hand,  the  R.  R.  will  not  work  at  all  at  f.6.3. 

NOTE.  It  should  be  borne  in  mind  that  the  shorter  the  length  of  focus,  the 
greater  the  depth  of  focus.  This  explains  why  very  small  cameras  can  have  a “ fixed 
focus”  (immovable),  while  larger  cameras  are  all  made  so  that  they  can  be  focused. 

See  Chapter  on  diaphragms  page  17. 

Suppose,  now,  that  you  are  using  your  Anastig- 
What  Depth  mat  at  the  full  opening  f.6.3  and  have  set  the  focus 
of  Focus  at  say  15  feet.  An  object  15  feet  distant  will  be 

Means:  absolutely  sharp,  but  objects  10  and  20  feet  distant 

will  not  be.  Stop  your  Anastigmat  down  to  /.8 
or  /.11.3  and  those  objects  each  side  of  the  exact  point  of  focus 
will  materially  increase  in  sharpness.  Go  further  and  use  stop 
f.22.6,  or  a still  smaller  stop,  and  everything  from  10  feet  on  to 
infinity  will  be  sharp.  It  will  thus  be  seen  that  the  smaller  the 
stop,  the  greater  the  depth  of  focus,  i.  e.,  the  greater  the  power 
of  the  lens  to  sharply  define,  at  the  same  time,  objects  nearer 
the  camera  and  further  from  the  camera  than  the  principal  object 


10 


THE  CAMERA. 


in  the  picture,  which,  of  course,  is  the  object  focused  upon.  But 
it  is  obvious  that  with  the  small  stops  the  exposure  must  be 
correspondingly  lengthened. 

Using  a stop  of  /. 8 or  smaller  the  advantage  of 
Anastigmat  the  Anastigmat  over  the  really  excellent  Rapid  Rec- 

Speed:  tilinear  lenses  furnished  with  our  cameras  is  not 

marked,  but  there  is  an  improvement  in  definition 
and  in  the  correctness  of  lines.  But  let  us  suppose  that  we  de- 
sire to  photograph  a rapidly  moving  object,  or  to  take  a picture 
on  a cloudy  day.  What  do  we  find?  The  f value  of  a lens  de- 
notes the  relation  of  the  opening  in  the  lens  to  its  focal  length. 
Suppose,  then,  that  we  have  a single  achromatic  lens  of  5 inch 
focus,  speed  /.  14,  a Rapid  Rectilinear  lens  of  5 inch  focus,  speed 
/.8,  and  an  Anastigmat  lens,  speed  /.6.3,  of  the  same  length  of 
focus,  5 inches.  How  do  they  compare  in  speed?  To  reduce  this 
to  its  simplest  terms  we  will  divide  the  focal  length  (5  inches)  in 
each  case  by  the  / value. 

5-t-  14=.357 
5-r-  8=.625 
5-k6.3=.793 

It  will  thus  be  seen  that  in  using  the  single  lens  the  largest  open- 
ing is  xoVo  of  an  inch  in  diameter,  with  the  R.  R.  lens  r6o3o5o  of  an 
inch  and  with  the  Anastigmat  of  an  inch.  The  amount  of 

light  admitted  by  a lens  in  a given  time  depends,  of  course,  upon 
the  area  of  the  opening  at  that  time  being  used  in  that  lens.  The 
amount  of  light  admitted  in  a given  time  with  these  different 
lenses  would,  therefore,  be  in  direct  proportion  to  the  square  of 
their  diameters.  Here,  then,  omitting  the  fractions,  is  the  result: 

Single  lens  .357x»357=.127 

R.  R.  lens  .625X.625=.390 

Anastigmat  lens  .793X-793=.628 

We  thus  find  that  the  speed  of  the  R.  R.  lens  is  over  three  times 
that  of  the  single  lens,  and  the  speed  of  the  Anastigmat  is  61% 
greater  than  the  speed  of  the  R.  R.  lens.  Therein  lies  the  greatest 
Anastigmat  advantage.  But  simply  because  it  has  this  speed  you 
don’t  always  need  to  use  it.  The  speed  must  be  used  with  discretion, 
just  as  greater  care  is  required  in  operating  an  automobile  than 
in  operating  a bicycle. 

Under  conditions  that  would  give  you  good  results  with  an  R. 
R.  lens  at  /.11.3  use  stop  /.1 1.3  with  your  Anastigmat — don’t  use  the 
largest  opening  for  every  occasion ; use  it  only  for  emergency. 
Your  greatest  Anastigmat  advantage  lies  in  the  fact  that  when  the 
light  is  so  poor  that  you  cannot  get  a properly  timed  negative  with 
your  R.  R.  lens  at  its  greatest  opening  f.8  without  resorting  to  a 
time  exposure,  you  can  open  up  your  Anastigmat  to  its  full  opening 
and  get  a successful  snapshot. 

For  the  same  reason,  i.  e.,  because  the  Anastigmat  admits  more 
light  in  a given  time  than  does  the  R.  R.  lens,  it  is  used  in  connec- 
tion with  high  speed  shutters  for  photographing  rapidly  moving  ob- 


THE  CAMERA. 


1 


jects.  Even  in  bright  sunlight  the  R.  R.  lens  will  not  give  sufficient 
illumination  to  make  its  use  practical  with  the  extremely  high  speed 
shutters  when  worked  at  their  shortest  exposures — but  the  Anastig- 
mat,  by  reason  of  the  large  opening  that  can  be  used,  enables  you 
to  take  advantage  of  the  high  speed  shutter. 

Strange  as  it  may  seem,  there  are  some  amateurs 
Shutter  Speed  w]10  ^ 0 not  understand  the  difference  between  a 
and  Lens  fast  lens  and  a fast  shutter,  thinking,  apparently, 
Speed:  that  because  they  have  a fast  lens  they  should  catch 

all  moving  objects  sharply,  or  because  they  have  a 
fast  shutter  that  their  pictures  should  be  fully  timed.  The  re- 
verse of  this  proposition  is  the  truth.  The  fast  shutter,  by  reason 
of  shortening  the  exposure,  cuts  down  the  light  and  tends  to- 
ward undertiming.*  Remember  that  these  speeds  are  always 
relative.  Your  Anastigmat  opened  to  f.6.3  will  not  give  as  fully 
timed  a negative  in  zhs  of  a second  as  your  R.  R.  lens  will  at  /.8 
in  of  a second.  Your  f.6.3  Anastigmat  is  61%  faster,  not 

100%  faster  than  the  R.  R.  lens. 

♦This  refers  in  particular  to  between-the-lens  shutters.  With  a focal  plane  shut- 
ter, such  as  used  in  the  Speed  Kodaks  and  Graflex  Cameras,  other  factors  enter. 
Such  shutters  give  more  illumination  of  the  plate  in  a given  time  than  between-the- 
lens  shutters — but,  on  the  other  hand,  work  many  times  faster  when  at  full  speed. 

We  have  had  some  complaints  that  the  Anastig- 
Unfair  Com-  mats  were  not  giving  as  fully  timed  negatives  as 
parisons:  they  should  in  comparison  with  the  R.  R.  lens 

which  our  customer  had  previously  used.  In  every 
case  we  have  found  that  the  fault  was  not  in  the  Anastigmat 
but  in  the  old  shutter  with  which  the  R.  R.  lens  was  used — such 
shutter  having  become  dirty  or  through  the  springs  weakening 
or  other  cause,  failing  to  work  at  its  supposed  speed.  The  result 
under  such  circumstances  being  that  the  old  lens  was  getting  the 
benefit  of  a much  longer  exposure  than  was  intended,  while  the 
Compound  shutter  fitted  to  the  Anastigmat  was  chopping  off  the 
light  with  greater  accuracy. 

„ The  user  of  an  Anastigmat  should  bear  in  mind 
Two  Stop  that  there  are  two  systems  under  which  shutters 
Systems:  are  marked  for  stop  openings  and  this  must  be 

reckoned  with  in  making  comparisons.  Most  shut- 
ters for  R.  R.  lenses  are  marked  on  the  Uniform  System  (abbre- 
viated to  U.  S.),  while  the  shutters  for  Anastigmats  are  marked 
by  the  f system.  The  f value  of  a stop  is  the  proportion  that  its 
opening  bears  to  the  focal  length  of  the  lens.  For  instance  /. 8 
means  that  the  diameter  of  the  stop  opening  is  1-8  of  the  focal 
length  of  the  lens,  etc.  The  Uniform  System  is  based  on  the  areas 
of  the  openings,  each  next  higher  number  having  half  the  area  of 
the  preceding  number  and  therefore  requiring  twice  the  exposure. 
For  instance:  If  1-100  of  a second  be  correct  for  stop  U.  S.  4, 

then  with  the  same  light  conditions  and  stop  U.  S.  8,  1-50  of  a 
second  would  be  required.  However,  the  two  systems  are  easily 
compared. 


12 


THE  CAMERA. 


TABLE. 


u.  s. 

4 

- - - - - /.  8 

u.  s. 

8 

- /.1 1.3 

u.  s. 

16 

- - - - - /.16 

u.  s. 

32 

- f.22.6 

u.  s. 

64 

f.32 

u.  s. 

128 

- f.  45.2 

There  is  no  exact  U.  S.  designation  for  f.6.3,  but  it  is  approxi- 
mately U.  S.  3. 

The  larger  the  stop  opening  the  less  depth  of 
A Law  of  focus.  This  is  not  a rule  covering  any  particular 

Optics:  lens  that  we  or  anyone  else  exploits.  It’s  as  fixed 

as  the  course  of  the  planets.  With  a large  opening, 
depth  of  focus  must  be  sacrificed.  In  this  matter  of  opening, 
then,  the  difference  between  the  R.  R.  and  the  Anastigmat  is  this : 
The  Anastigmat  will  cut  perfectly  sharp  on  objects  at  the  focused 
distance,  over  the  entire  picture  with  a large  opening,  admitting 
a large  amount  of  light,  thus  requiring  a relatively  short  exposure; 
but  when  this  large  opening  is  used,  there  is  no  great  depth  of 
focus.  The  R.  R.  lens  will  not  cut  the  entire  picture  sharp  with 
this  large  opening,  even  if  correctly  focused.  With  the  smaller 
openings,  as  /. 8,  etc.,  the  Anastigmat  has  the  same  depth  of  focus 
as  the  R.  R.  lens  and  gives  sharper  definition  over  the  entire 
picture. 

It  is  perfectly  evident  then  that  it  is  best  to  use 
Deductions:  only  a moderately  large  stop  opening  (say  f.8  or 

/.  1 1 .3 ) even  with  an  Anasitgmat,  and  time  accord- 
ingly when  conditions  will  permit.  However,  when  the  light  is 
dull  and  a snap  shot  is  desired,  the  full  opening  may  be  used,  or 
if  it  is  desired  to  photograph  rapidly  moving  objects  in  good  light, 
the  full  opening  may  be  used  with  a high  speed  of  the  shutter.  It 
must  not  be  expected,  however,  that  with  such  full  opening  objects 
in  the  foreground,  in  the  middle  distance  and  at  long  distance 
can  all  be  sharp.  Set  the  scale  for  the  correct  focus  on  the 
principal  object  and  that  object  will  be  sharp.  As  a rule,  your 
picture  will  he  rather  better  for  having  the  unimportant  parts 
less  sharply  defined  than  the  principal  subject. 

The  Anastigmat  will  do  everything  better  than  the  R.  R.  It 
will  do  some  things  that  the  R.  R.  lens  cannot  do  at  all — but  no 
lens  has  yet  been  invented  or  is  likely  to  be  that  can  combine  ex- 
treme speed  with  depth  of  focus,  except  in  the  very  small  sizes,  or, 
in  other  words,  except  in  lenses  of  very  short  focus.  Even  in 
these,  the  error,  though  not  noticeable,  is  there — but  that’s  another 
story. 

And  in  making  these  comparisons  we  would  be  doing  the 
svibject  scant  justice  did  we  omit  to  mention  the  anastigmat  lens 
especially  designed  to  meet  Kodak  requirements. 

The  Zeiss-Kodak  anastigmat  lens  encompasses  all  the  quality 
and  dependability  which  the  word  Kodak  implies. 


THE  CAMERA. 


13 


KNOW  YOUR  CAMERA. 

Before  attempting  the  making  of 
pictures  it  is  of  the  utmost  impor- 
tance that  you  fully  understand  your 
camera  and  its  equipment.  A camera 
in  its  simplest  form  would  be  a simple 
box,  made  light  tight,  with  a lens 
at  one  end  and  a means  for  support- 
ing a plate  or  film  inside  the  box  at 
the  other  end,  as  illustrated  in  the 
accompanying  diagram. 

The  bellows,  shutter  and  other  at- 
tachments are  simply  convenient 
modifications  of  this  form ; the  bel- 
lows permitting  the  folding  of  the 
light  chamber,  and  the  shutter  a means  for  allowing  the  light  to 
pass  through  the  lens  for  definite  periods. 

Before  attempting  to  load  the  camera,  examine  it  carefully 
and  familiarize  yourself  with  the  shutter  and  its  workings.  Note 
carefully  the  diaphragm  or  stop  openings  in  the  shutter,  and  how 
with  the  larger  opening  a greater  quantity  of  light  passes  through 
the  lens  in  a given  time,  and  you  will  then  understand  why  we 
use  the  largest  opening  for  snap  shots,  and  the  smaller  ones  for 
time  exposures.  The  use  of  the  diaphragms  or  stops  is  fully 
explained  on  page  17. 

Having  mastered  the  operation  of  the  shutter,  and  the  focusing 
device,  if  your  camera  be  provided  with  one,  and  having  a slight 
idea  of  the  conditions  necessary  for  picture  taking,  the  camera 
may  be  loaded. 

We  will  presume  that  you  have  taken  the  advice  given  in  the 
previous  pages  and  are  in  possession  of  a cartridge  film  camera. 

LOADING  THE  CAMERA. 

With  a Kodak  this  operation  is  per- 
With  Film:  formed  in  daylight  and  is  very  simple. 

The  film  is  put  up  in  light-tight  rolls  and 
extending  the  full  length  of  the  strip  of  film  and  sev- 
eral inches  beyond  each  end  is  a strip  of  duplex  paper, 
red  on  one  side,  and  black  on  the  other,  which  in 
connection  with  the  flanges  on  the  spool,  forms  a light- 
proof cartridge. 

After  inserting  the  spool  and  threading  up  the  paper 
the  camera  is  closed  and  the  key  turned  until  the  paper  „ ^ILM 
has  been  reeled  off  and  the  sensitive  film  brought  into 
place  in  the  focal  plane.  The  duplex  paper  runs  with  and  be- 
hind the  film,  and  at  proper  intervals  is  marked  with  the  number 
of  the  section  of  film,  1,  2,  3,  etc.  In  the  back  of  the  camera  is 
a small  red  window  through  which  the  figures  appear  as  the  key 
is  turned.  Turn  the  key  slowly  to  the  left  and  watch  the  little  red 
celluloid  window  at  the  back  of  the  camera.  When  15  to  18  turns 


14 


THE  CAMERA . 


have  been  given  a hand  pointing  toward  the  first  number  will 
appear,  then  turn  slowly  until  the  figure  1 is  in  front  of  the  red 
window.  Fig.  I. 

The  warning  hand  appears  only  before  No.  1.  These  figures 
show  just  how  far  to  turn  the  key  and  how  many  exposures 

have  been  made.  After  all  the 
exposures  have  been  made,  a few 
extra  turns  of  the  key  entirely 
covers  the  film  with  duplex  paper 
and  the  camera  may  be  unloaded 
in  daylight. 

It  is  all  as  simple  as  threading 
a needle  (simpler  for  a man) 
and  with  each  camera  is  a manual  telling  plainly  about  each  step. 
The  amateur  must  bear  constantly  in  mind,  however,  that  the 
paper  must  be  kept  tightly  rolled  about  the  film  all  of  the  time 
until  it  is  in  place  in  the  camera  and  the  camera  closed,  for 
should  the  film  be  exposed  to  daylight  for  even  a hundredth  part 
of  a second  its  ruin  would  be  accomplished. 

In  the  3y2  x 3l/2,  3%y.4%  and  4x5  sizes  Film  Cartridges  may 
now  be  obtained  for  “Double-Two”,  six  or  twelve  exposures. 
3%  x 5t/2  may  be  had  in  “Double-Two”,  six  and  ten,  and  4%x6l/2, 
and  5x7  in  “Double-Two”,  and  six  exposure  cartridges.  The 
“Double-Two”  cartridges  contain  four  exposures,  so  arranged, 
however,  that  two  of  them  may  be  removed  after  exposure  or,  if 
desired,  the  entire  four  exposures  may  be  made  before  taking  out 
cartridges. 

For  loading  with  glass  plates  a dark-room  is  es- 
With  Plates:  sential,  that  is,  a room  from  which  all  white  light 

has  been  excluded  as  described  on  page  90.  Pro- 
vide also  a dark-room  lamp,  and  a shelf  or  table  on  which  to  work. 
Remove  the  dark  slides  from  the  plate  holders  and,  having  closed 
every  avenue  for  the  entrance  of  white  light  and  lighted  the  dark- 
room lamp,  open  the  box  of  plates. 

Take  one  of  the  plates  from  the  box  and  put  it  in  the  holder 
face  up,  handling  the  plate  by  the  edges.  (The  face  is  the  dull 
side.)  Insert  the  dark  slide  with  the  word  “exposed”  next  the 
plate.  Now  turn  the  holder  over,  if  it  is  a double  holder,  and  load 
the  other  side  in  a similar  manner.  When  all  the  plate  holders  have 
been  filled  close  up  the  remaining  plates  in  a box,  wrap  them  up 
securely  or  put  away  in  a dark  drawer. 

By  use  of  the  Premo  Film  Pack  the  ordinary 
The  Film  plate  camera  is  transformed  into  a daylight  load- 

Pack:  ing  film  camera  with  the  advantage  of  focusing  on 

the  ground  glass  the  same  as  when  using  plates. 
This  pack  consists  of  twelve  flat  cut  films  packed  together  in  a 
light  proof  paper  case.  Attached  to  each  film  is  a paper  tab,  the 
end  of  which  is  numbered,  thus  showing  the  operator  just  which 
film  is  in  position  for  exposure.  The  method  of  using  this  pack 
is  extremely  simple,  as  the  only  movement  necessary  in  placing 
the  film  in  position  for  the  next  exposure  is  to  simply  pull  out 
a tab. 


Fig.  I. 


MAKING  THE  EXPOSURES. 


5 


MAKING  THE  EXPOSURES. 

Before  attempting  the  actual  making  of  exposures  it  is  highly 
essential  that  the  beginner  have  some  practical  knowledge  of  the 
sensitive  film,  its  composition  and  the  action  of  light  upon  it. 

The  only  difference  between  a dry  plate  and  a film  is  in  the 
support,  that  of  the  plate  being  a sheet  of  glass,  and  of  the  film 
a flexible  transparent  material,  that  is  light,  non-breakable  and 
Tollable,  the  sensitive  coating  or  emulsion  in  each  instance  being 
the  same.  In  addition  to  the  advantages  of  a light,  flexible  and 
non-breakable  support,  film  possesses  several  other  distinct  and 
important  advantages  : 

Eastman  N.  C.  Film  is  protected  by  being  backed  with  a strip 
of  specially  prepared  duplex  paper,  red  on  one  side  and  black 
on  the  other,  the  red  side  coming  in  contact  with  the  sen- 
sitive surface  of  the  film.  This  backing  in  connection  with  the 
thinness  of  the  film  support  renders  the  film  almost  entirely  free 
from  halation,  a defect  found  very  largely  in  all  glass  plates  un- 
less specially  prepared.  Halation  and  its  causes  is  explained  on 
page  158.  This  freedom  from  halation  gives  the  film  a far  greater 
latitude  in  exposure  than  can  be  given  with  plates,  and  especially 
adapts  it  to  the  conditions  of  harsh  lightings  under  which  the 
amateur  ordinarily  works. 

In  addition  to  these  most  advantageous  features,  Eastman  N. 
C.  Film  is  superior  in  Orthochromatic  Quality. 

As  this  is  a most  important  qualification  we  afford  a rather 
full  explanation : 

In  the  earlier  days  of  photography  the  plates  used  gave  very 
untruthful  renderings  of  color  values. 

Yellow  and  red,  for  instance,  photographed  as  black,  while 
violet,  indigo  and  blue,  photographed  as  white. 

The  chart  on  page  16  shows  the  range  of  spectrum  from 
violet  to  red. 

The  ordinary  plate  is  highly  sensitive  to  violet,  a trifle  less 
sensitive  to  indigo,  and  so  on,  as  we  approach  the  other  end  of 
the  spectrum,  the  yellow  and  orange  rays  affect  the  plate  but 
little  and  the  red  rays  hardly  at  all. 

An  orthchromatic  plate  or  film  is  one  in  which  these  errors 
have  been  so  far  corrected  as  to  give  truer  color  value,  i.  e.,  the 
emulsion  is  sensitive  to  a wide  range  of  colors  in  an  equal  or 
nearly  equal  degree. 

With  a non-orthochromatic  plate  you  might  be 
Why  Ortho-  making  a picture,  with  say  a bed  of  flowers  in  the 
chromatism  foreground — some  light  yellow  and  others  dark  blue. 

Helps:  The  negative,  owing  to  its  deficiencies,  would  yield 

a print  in  which  the  yellow  flowers  would  appear 
darker  than  the  blue  ones,  though,  to  the  eye,  the  yellow  flowers 
would  appear  lighter. 

In  other  words,  it  would  not  give,  in  the  resulting  pictures, 
the  true  color  values.  The  fully  orthochromatic  plate  or  film  cor- 
rects these  mistakes  and  renders  the  color  values  (the  depths  of 
color)  in  their  proper  relation  to  each  other. 


16 


MAKING  THE  EXPOSURES . 


In  the  same  way  the  orthochromatic  film  helps  preserve  cloud 
effects,  differentiating  between  the  clouds  and  the  surrounding  blue 
sky. 

In  a properly  equipped  factory  such  as  ours,  there  is  no  diffi- 
culty whatsoever  in  making  any  desirable  degree  of  orthochroma- 
tism. Naturally,  however,  intelligent  use  must  be  made  of  this 
ability.  For  instance  we  manufacture  a plate  (the  Seed  Pan- 
chromatic) for  photo  en- 
graving purposes  that  is  so 
sensitive  to  red,  that  not 
even  the  most  perfect  ruby 
lamp  can  be  used  with  it, 
and  it  has  to  be  handled  in 
absolute  darkness.  It  is 
therefore  self  evident  that 
such  a film  or  plate  would 
not  be  practical  for  ordi- 
nary use. 

Kodak  film  was  first 
made  as  an  orthochromatic 
film  in  1903.  Up  to  that 
time  we  had  sold  hundreds 
of  thousands  of  orange 
dark-room  lamps  in  our 
developing  outfits.  Imme- 
diately it  became  necessary 
to  substitute  a deep  red  for 
orange  because  this  orthochromatic  film  was  so  sensitive  to  yellow. 

Kodak  N.  C.  Film  has  back  of.  it,  not  only  perfect  manufac- 
turing facilities,  but  every  advantage  that  experience  and  scientific 
research  can  afford,  and  possesses  orthochromatic  quality  in  abso- 
lutely the  right  degree  to  afford  the  best  possible  average  results 
in  the  hands  of  the  amateur. 

Kodak  N.  C.  Film  is  the  most  perfectly  balanced  film  in  the 
rendering  of  color  values. 

Everything  else  being  equal  film  will,  therefore,  give  better  re- 
sults for  the  amateur  than  can  be  secured  on  glass  plates. 

A negative  is  produced  by  the  action  of  the  rays  of  light  passing 
through  the  lens,  and  coming  to  a focus  on  the  sensitive  surface  of 
the  film  which  is  composed  of  an  emulsion  of  silver  salts.  Light 
colored  objects  reflect  strong  rays  of  light  and  they  affect  the  sen- 
sitive surface  the  most.  With  a clear  bright  sky,  the  rays  from 
it  will  render  the  sky  in  the  negative  opaque,  or  nearly  so ; the  rays 
reflected  from  a white  object  will  be  almost  as  strong  as  those  from 
the  sky;  the  rays  from  a red  brick  chimney  will  affect  the  sensi- 
tive surface  much  less,  while  so  little  light  comes  from  heavily 
shaded  places  as  to  hardly  produce  an  impression.  Therefore,  we 
have  in  the  negative,  a record  of  the  lights  and  shadows  as  we 
see  them,  but  all  reversed.  When  these  are  again  reversed  in 
making  a print  from  the  negative,  we  have  them  again  in  their 
proper  relation.  A certain  amount  of  light  is  necessary  in  order 
to  produce  a negative  of  proper  density.  We  can  make  a snap 


Chart  showing  range  of  spectrum. 


MAKING  THE  EXPOSURES. 


17 


shot  out  of  doors  on  a bright  day  in  1-50  of  a second,  or  even 
less.  If  we  wish  to  take  a picture  indoors  on  the  same  day,  we 
must  expose  from  two  seconds  to  several  minutes,  according  to 
the  amount  of  light  entering  through  the  windows,  and  the  color- 
ing of  the  wall  and  floor  coverings.  You  cannot  make  a snap  shot 
indoors,  neither  can  you  give  a long  time  exposure  outdoors  on  a 
bright  day,  with  successful  results, — your  exposure  must  be  ap- 
proximately correct.  Fortunately  Eastman  N.  C.  Film  has  a most 
remarkable  latitude  and  one  can  vary  quite  a percentage  either 
way  from  the  absolutely  normal  exposure  and  still  produce  good 
results. 

In  the  section  of  this  book  devoted  to  home  portraiture,  a 
number  of  comparative  experiments  are  given.  See  page  43. 


STOPS — OR  DIAPHRAGM  OPENINGS. 

An  understanding  of  the  use  of  the  lens  diaphragms  or  stops 
is  absolutely  essential  to  good  work.  The  best  part  of  a lens  is  its 
center,  i.  e.,  those  rays  of  light  which  pass  through  a lens  at  or 
near  its  center  will  be  correctly  imparted  and  will  therefore  give 
an  image  sharp  and  clear  on  the  ground  glass,  while  the  rays  which 
pass  through  the  outer  edges  of  the  lens  will  not  make  such  a clear 
and  distinct  image.  It  can  thus  be  seen  that  the  smaller  the  stop 
opening  the  sharper  the  picture,  because  the  outside  rays  of  light 
will  be  cut  off.  It  naturally  follows  that  with  the  smaller  opening 
we  employ  the  less  light  we  are  admitting  in  a given  time. 

As  an  instructive  experiment,  if  the  beginner  has  a camera 
with  a focusing  screen,  let  him  focus  some  object  on  this  screen, 
using  the  largest  stop  opening,  and  noting  the  lines  comprising  the 
image  to  see  if  they  are  sharp.  Then  let  him  use  the  smaller  open- 
ing and  note  the  increase  in  sharpness,  and  the  decrease  in  light. 
The  better  the  lens,  the  larger  the  stop  opening  we  can  use  suc- 
cessfully, and  consequently  the  “faster”  the  lens.  Suppose  we  have 
one  lens  of  eight  inch  focus,  and  we  find  that  in  a given  light  we 
can  make  a clear,  sharp  picture  in  five  seconds  with  a stop  one 
inch  in  diameter,  while  with  another  lens  of  the  same  focal  length 
we  must  use  a stop  of  but  one-half  inch  in  diameter  in  order  to 
get  a sharp  picture.  Unless  you  stop  to  think  your  answer  will  be 
10  seconds  for  the  lens  with  the  half  inch  opening.  As  a matter 
of  fact  we  must  give  four  times  the  exposure,  or  20  seconds,  be- 
cause the  area  of  the  one  inch  stop  is  four  times  that  of  the  half 
inch  stop.  Now,  if  we  know  the  correct  exposure  with  any  one 
stop  we  can  figure  the  correct  exposure  with  any  other  stop  by  the 
following  rule : 

The  time  variation  between  two  stops  is  inversely  as  the  square 
of  their  diameters.  With  our  single  lens  cameras  there  are  stop 
openings  of  three  sizes ; the  largest,  for  ordinary  snap  shots,  the 
second,  (which  has  almost  2-3  the  diameter  of  the  largest)  for 
snap  shots  on  the  water  and  in  tropical  climates,  or  for  time  ex- 
posures indoors,  and  the  smallest,  ordinarily  used  for  time  ex- 
posures— never  for  snap  shots. 


18 


MAKING  THE  EXPOSURES. 


With  the  Rapid  Rectilinear  lenses  there  is  a greater  number  of 
stop  openings  and  they  are  arranged  by  what  is  known  as  the 
Uniform  System,  commonly  abbreviated  to  “U.  S.”  See  page  11. 

The  convenience  of  the  U.  S.  system  lies  in  that  each  higher 
number  stands  for  an  opening  having  half  the  area  of  the  preced- 
ing opening.  Between  each  number,  therefore,  we  simply  double 
the  time.  For  instance,  the  table  given  on  page  25  is  for  use 
with  stop  No.  8 with  the  No.  4 Folding  Pocket  Kodak.  If  we 
use  stop  No.  16  we  must  give  twice,  or  if  No.  32  four  times  the 
time  of  the  table. 

Ordinarily  the  appended  table  is  a good  one  to  follow  in 
the  use  of  the  stops  with  a Rapid  Rectilinear  lens,  but  there  are 
some  exceptions : 

No.  4 — For  instantaneous  exposures  in  slightly  cloudy  weather 
and  for  portraits.  Do  not  attempt  instantaneous  exposures  on 
dark,  cloudy  days. 

No.  8. — For  all  ordinary  instantaneous  exposures  when  the  sun 
shines. 

No.  16. — For  instantaneous  exposures  when  the  sunlight  is  un- 
usually strong  and  there  are  no  heavy  shadows;  such  as  views 
on  the  seashore  or  on  the  water,  or  in  tropical  or  semi-tropical 
climates;  also  for  interior  time  exposures. 

Nos.  32  and  64. — For  interiors. 

No.  128. — For  time  exposures  outdoors  in  cloudy  weather. 
Never  for  instantaneous  exposures.  The  time  required  for  time 
exposures  on  cloudy  days  with  smallest  stop  will  range  from 
second  to  5 seconds,  according  to  the  light.  The  smaller  the  stop 
the  sharper  the  picture. 

To  get  “depth  of  focus”,  i.  e.,  have  all  objects,  both  near  and 
far,  needle  sharp,  use  the  smallest  stop. 

The  No.  4 stop  is  not  to  be  used  when  absolute  sharpness  is 
desired,  as  the  opening  is  so  large  that  few  lenses  will  have  a 
good  “depth  of  focus”  with  it — i.  e.,  only  the  objects  at  the  exact 
distance  focused  will  be  sharp,  those  nearer  by  or  farther  away 
being  more  or  less  “out  of  focus”. 

Sharpness  is  extremely  desirable  in  a picture,  but  what  we  call 
“roundness”  and  “atmosphere”  is  perhaps  fully  as  important.  What 
is  meant  by  these  rather  vague  terms  is  sometimes  puzzling  to  the 
beginner  and  they  are,  perhaps,  best  explained  as  referring  to  that 
quality  in  a picture  which  gives  the  proper  idea  of  both  distance 
and  perspective — that  quality  which  is  the  opposite  of  the  sil- 
houette; which  makes  every  object  appear  in  proper  relation  to 
every  other  object  and  gives  life  and  character  to  the  picture. 
“Atmosphere”  and  “roundness”  we  find  by  practical  experience 
are  somewhat  lost  by  using  too  small  a stop.  We  should,  there- 
fore, use  the  largest  opening  which  will  give  us  a sharp  picture. 


MAKING  THE  EXPOSURES . 


19 


SHUTTERS. 

The  box  form  cameras  of  our  manufacture  are  equipped  with 
the  Eastman  Rotary  Shutter.  This  shutter  does  not  include  an 
iris  diaphragm,  the  stop  openings  being  on  a sliding  plate  and 
brought  into  position  by  means  of  a lever.  The  shutters  on  the 
folding  film  cameras,  with  the  exception  of  the  1A  and  4A  Speed 
cameras,  are  equipped  with  iris  diaphragms,  the  size  of  the  stop 
opening  being  regulated  by  the  opening  and  closing  of  the  device. 

The  1A  Speed  and  4A  Speed  Kodaks  are  equipped  with  what 
is  termed  a focal  plane  shutter.  This  type  of  shutter  being 
radically  different  from  both  the  rotary  and  the  iris  diaphragm 
shutters  in  that  it  is  placed  at  the  back  of  the  camera,  imme- 
diately in  front  of  the  sensitive  film,  instead  of  just  in  front  or 
between  the  lenses.  With  cameras  so  equipped  the  stop  openings 
are  naturally  in  the  lens  barrel  and  entirely  independent  of  the 
shutter. 

The  manuals  accompanying  the  different  instruments  cover 
these  points  fully. 


FOCUSING. 

If  your  Kodak  makes  pictures  3^4x4^  inches  or  larger,  you 
must  look  to  your  focusing  as  well  as  to  the  matter  of  light  and 
stops.  The  manual  accompanying  the  instrument  explains  how  1o 
do  this,  but  something  of  the  reasons  for  the  necessity  of  it  may 
be  of  value  to  you.  It  is  our  intention  to  make  this  book  intensely 
practical,  yet  a bit  of  theory  often  helps  one  in  the  accomplish- 
ment of  practical  ends. 

Suppose  we  wish  to  make  a picture  of  an  object  six  feet  away; 
the  focusing  point  would  be  (with  most  lenses  used  in  a 4x5 
camera)  seven  inches  from  the  lens.  Now  again,  should  we  wish 
to  make  a picture  of  an  object  100  feet  or  more  distant,  we  find 
that  the  focusing  point  will  be  six  inches  from  the  lens.  So  you 
can  readily  see  that,  with  a camera  of  that  size,  it  would  be  impos- 
sible to  have  a lens  always  set  at  the  same  point  or  distance  from 
the  sensitive  surface,  for  if  the  nearby  objects  were  in  focus 
(sharp)  the  distant  ones  would  be  out  of  focus  (not  sharp),  and 
vice  versa,  and  for  that  reason  we  have  what  is  called  an  “ad- 
justable focus”;  that  is,  the  front  of  the  camera  or  that  part  which 
carries  the  lens,  is  made  so  that  it  can  be  moved  and  the  dis- 
tance of  the  lens  from  the  sensitive  film  or  plate  be  increased  or 
decreased. 

A 

0_ 

A 

A A Lens.  C Focus  of  the  rays  of  light  from  object  B. 

E Focus  of  the  rays  from  object  D. 

The  variation  of  focus  is  shown,  greatly  exaggerated,  in  the 
above  diagram. 


20 


MAKING  THE  EXPOSURES. 


When  we  say  that  a camera  is  “in  focus”  it  is  equivalent  to 
saying  that  the  sensitive  surface  of  the  film  or  plate,  when  in  the 
camera,  will  come  in  contact  with  the  rays  of  light  reflected  from 
the  subject  at  this  point  or  the  point  of  focus. 

On  the  Adjustable  Focus  Kodaks  will  be  found 
To  Focus:  a little  scale  marked  with  figures  usually  from  six 

to  one  hundred,  and  indicating  feet.  (They  are 
also  marked  for  meters.)  You  will  also  find  a little  pointer  that, 
as  you  move  the  lens  back  and  forth,  will  pass  over  the  scale. 
Now,  should  you  wish  to  take  a picture  of  an  object,  say  fifteen 
feet  distant,  you  will  move  the  pointer  until  it  rests  over  the  figure 
15.  This  indicates  that  the  lens  has  been  brought  to  the  proper 
distance  from  the  focal  plane  (i.  e.,  the  surface  of  film  or  plate) 
for  the  focusing  of  objects  at  a distance  of  fifteen  feet.  Objects 
nearer  by,  or  farther  away,  will  not  be  absolutely  sharp,  this,  how- 
ever, depending  largely  upon  the  size  of  the  stop  you  are  using. 
See  page  17. 

While  the  adjustable  scale  for  all  cameras  up  to  and  including 
4k*  x 6F2  inches  will,  when  carefully  used,  give  one  just  as  sharp 
pictures  as  can  be  obtained  by  focusing  on  the  ground  glass,  there 
is  some  satisfaction  to  the  student  of  photography  in  focusing  his 
camera  on  the  glass  before  he  sets  out  on  his  photographic  career. 
It  shows  him  what  his  lens  is  doing  and  why  it  impresses  an  image 
on  the  sensitive  film. 

When  used  with  glass  plates,  the  No.  3,  3A  and  4 Folding 
Pocket  Kodaks  and  the  4A  Folding  Kodak  may  be  focused  on  the 
ground  glass,  there  being  a special  Combination  Back  and  Focusing 
Glass  for  this  purpose.  However;  for  the  purposes  of  the  study 
of  this  question  of  focus  this  back  is  not  necessary,  as  the  back 
of  the  camera  may  simply  be  removed  and  a piece  of  ground  glass 
laid  against  the  rollers  over  which  the  film  passes  and  the  picture 
may  be  focused  on  this.  Be  careful,  however,  to  have  the  glass  of 
such  size  that  it  may  be  placed  in  actual  contact  with  the  rollers ; 
otherwise,  it  will  not  be  in  the  proper  focal  plane  and  the  lesson 
will  be  lost. 

NOTE — The  experiment  of  looking  at  the  image  on  the  ground  glass  may  be 
similarly  tried  with  the  fixed  focus  Kodaks  and  will  prove  extremely  interesting  and 
instructive  to  the  beginner. 

To  accomplish  this,  place  the  camera  on  a tripod,  on  the  win- 
dow sill  or  on  a table.  It  will  be  better  to  focus  on  something  out- 
side of  the  house  at  first  as  the  light  will  be  stronger.  Point  the 
camera  at  some  object,  a tree,  for  instance;  put  the  ground  glass 
in  position,  use  the  largest  stop  and  open  the  shutter.  With  your 
head  about  one  foot  away  and  your  eyes  on  a level  with  the 
camera,  take  a piece  of  black  or  dark  cloth  and  place  over  your 
head  and  back  part  of  the  camera,  thus  cutting  off  all  light  except 
that  entering  through  the  lens.  Do  not  try  to  look  through  the 
ground  glass,  but  at  it.  In  a few  seconds,  or  when  your  eyes  get 
accustomed  to  the  darkness,  you  will  see  a picture  on  its  surface. 
The  picture  or  image  you  see  will  be  just  what  you  would  get  on 
the  sensitive  surface  of  your  film  or  plate.  You  will,  however. 


MAKING  THE  EXPOSURES. 


21 


notice  that  the  picture  is  inverted,  or  upside  down.  This  may  excite 
your  curiosity  but  will  explain  itself  by  the  aid  of  the  following 
diagram : 

The  rays  of  light  from  “A”  passing  in  a straight  line  through 
“B”  until  they  are  interrupted  by  “C”,  on  which  they  strike,  form 
an  inverted  image  of  the  object  “A”. 

Now  move  the  lens  back  and  forth  until  the  tree  is  sharply  de- 
fined on  the  ground  glass.  When  the  lens  is  at  just  the  proper 


Let  A represent  a tree. 

B the  lens. 

C the  ground  glass  or  focusing  screen. 

D the  camera. 

distance  from  the  ground  glass,  the  object  will  be  as  “sharp  as  a 
needle”  even  if  the  largest  stop  be  used.  Now  focus  on  objects 
at  other  distances.  First,  on  an  object  one  hundred  feet  or  more 
away  and  then  on  an  object  only  eight  feet  away.  You  will  notice 
that  the  farther  away  the  object,  the  nearer  to  the  focal  plane 
(ground  glass)  the  lens  must  be  in  order  to  give  a sharp  picture, 
and  vice  versa..  And  you  will  notice  further,  if  you  take  the  trouble 
to  carefully  measure  the  distances,  that  your  ground  glass  tells 
the  same  tale  as  your  focusing  scale, — in  other  words,  if  you  focus 
on  an  object  25  feet  distant  and  get  it  sharp,  that  the  pointer  on 
the  focusing  scale  will  point  at,  or  nearly  at,  25.  You  will  also 
notice  that  all  objects  from  15  to  35  feet  will  be  in  good  focus. 

Our  factory  methods  of  adjusting  the  focusing  scale  correspond 
closely  to  the  foregoing  paragraph.  To  insure  accuracy,  the  focus- 
ing scales  are  placed  on  Kodaks  by  actual  focusing.  The  camera  is 
placed  beneath  a hood,  which  serves  as  a focusing  cloth  and  cuts 
off  all  light  except  that  entering  through  the  lens.  Incandescent 
lights  are  arranged  at  different  distances,  which  correspond  with  the 
figures  on  the  focusing  scale.  For  instance,  the  camera  is  first 
focused  on  a light  15  feet  away,  regardless  of  the  scale,  which  is 
then  so  placed  on  the  camera  that  the  15  foot  mark  will  come 
directly  underneath  the  pointer.  The  scale  is  then  fastened  in 
position  and  tested  at  other  distances,  the  image  on  the  ground 
glass  being  examined  with  a magnifying  glass.  Before  the  cam- 
era is  finally  passed  from  his  department,  the  inspector  makes 
certain  that  the  focusing  scale  corresponds  exactly  with  the 
ground  glass  at  each  distance. 

While  the  shutter  is  open  and  the  ground  glass  is  in  position 
it  will  prove  interesting  and  instructive  to  note  also  the  effect  of 
the  stops.  After  focusing  on  some  object  with  the  largest 
diaphragm,  put  a smaller  stop  in  position  and  note  the  decrease 


22 


MAKING  THE  EXPOSURES. 


in  light  and  the  increase  in  sharpness  over  the  entire  picture. 
There  may  be  no  marked  increase  in  sharpness  of  the  particular 
object  on  which  you  have  focused,  but  nearer  and  further  objects 
will  be  sharpened  in  a remarkable  degree.  Remember  this  point 
later.  The  above  experiment  with  stops  may  also  be  tried  with 
the  fixed  focus  cameras. 

Having  now  something  of  the  theory  of  photography,  you  are 
prepared  to  make  your  first  negatives.  Read  carefully  the  in- 
structions on  the  making  of  snap  shots  and  time  exposures  given 
in  the  following  pages  having  also  read  carefully  the  instructions 
for  operating  your  camera,  which  are  given  in  the  manual  accom- 
panying it,  you  are  ready  to  sally  forth  and  undertake  the  work 
of  exposure.  We  advise  snap-shot  work  to  begin  with,  but  you 
should  be  sure  to  pick  out  for  your  first  work  a day  when  the 
light  is  strong  and  brilliant,  that  your  first  batch  of  negatives  may 
be  fully  timed. 


SNAP  SHOTS. 

Instantaneous  exposures,  or  “snap  shots”,  as  they  are  more 
frequently  called,  are  usually  made  while  the  camera  is  held  in 
the  hand  and  are  about  the  first  thing  that  the  amateur  attempts. 
Some  learned  writers  deprecate  this,  but  as  snap  shots  are  the 
simplest  exposures  to  make  and  ordinarily  the  simplest  to  de- 
velop, because  most  likely  to  be  correctly  timed,  we  believe  the 
amateur  should  begin  his  photographic  career  with  this  class  of 
work. 

Before  making  an  exposure,  either  time  or  instantaneous,  be 
sure  of  four  things : 

First — That  the  shutter  is  set  properly.  (For  time  or  in- 
stantaneous exposures  as  desired.) 

Second — That  the  proper  stop  is  in  position. 

Third — That  an  unexposed  section  of  the  film  is  turned  into 
position,  or  that  an  unexposed  plate  is  in  position  and  that  the 
dark  slide  has  been  removed. 

Fourth — Unless  the  camera  has  a fixed  focus  see  that  it  is 
properly  focused  on  the  principal  object  to  be  photographed. 

To  take  instantaneous  pictures  the  object  must  be  in  the  broad, 
open  sunlight,  but  the  camera  should  not  be.  The  sun  should  be 
behind  the  back  or  over  the  shoulder  of  the  operator. 

NOTE— Effective  pictures  may  frequently  be  made  by  working  toward  the  sun, 
shading  the  lens  to  keep  out  direct  sunlight  when  so  doing,  but  the  amateur  should 
not  attempt  such  work  at  the  start. 

Set  the  focus  by  placing  the  pointer  over  the 

Set  the  figures  on  the  index  plate  nearest  the  estimated  dis- 

Focus:  tance  of  the  principal  object  to  be  photographed 

in  feet. 

It  is  not  necessary  to  estimate  the  distance  with  any  more 
than  approximate  accuracy.  For  instance,  if  the  focus  is  set  at 
25  feet  (the  usual  distance  for  ordinary  street  work),  the  sharp- 
est part  of  the  picture  will  be  the  objects  at  that  distance  from 


MAKING  THE  EXPOSURES. 


23 


the  camera,  but  everything  from  15  to  35  feet  will  be  in  good 
focus.  For  general  street  work  the  focus  may  be  kept  at  50  feet, 
but  where  the  principal  object  is  nearer  or  farther  away  the  focus 
should  be  moved  accordingly. 

It  is  imperative  that  a large  stop  be  used  in 
Use  the  making  snap  shots.  With  most  cameras  the  largest 
Proper  stop  must  be  used  under  ordinary  conditions  with 

Stop:  bright  sunlight.  This  is  the  case  with  all  of  the 

single  lens  Kodaks.  With  the  double  lens  Kodaks 
use  No.  8 stop.  See  page  18. 

This  size  stop  must  be  used  for  snap  shots  except  where  the 
sunlight  is  unusually  strong  and  there  are  no  heavy  shadows, 
such  as  views  on  the  water,  or  in  tropical  or  semi-tropical  climates, 
when  the  next  smaller  stop  may  be  used. 

The  smallest  stop  must  never  be  used  for  snap  shots  or  abso- 
lute failure  will  result. 


Locate  the 
Image: 


Holding  the  camera  steadily,  locate  the  image 
in  the  finder.  The  finder  gives  the  exact  scope  of 
view  and  shows  on  a reduced  scale  just  what  will 
be  in  the  picture — no  more,  no  less. 


The  camera 
Hold  It  must  be  held 

Level:  level. 

If  the  opera- 
tor attempts  to  photograph  a 
tall  building,  while  standing 
near  it,  by  pointing  upward 
(thinking  thereby  to  center  it) 
the  result  will  be  similar  to 
Fig.  1. 

This  was  pointed  too  high. 
This  building  should  have  been 
taken  from  the  middle  story 
window  of  the  building  oppo- 
site. 

The  operator  should  hold  the 
camera  level,  after  withdrawing 
to  a proper  distance,  as  indi- 
cated by  the  image  shown  in  the 
finder.  Some  cameras  are 
equipped  with  a rising  and  slid- 
ing front  to  assist  in  taking  the 
tops  of  tall  buildings,  etc.  See 
page  28. 


Fig.  I. 


All  being  in  readiness 


Hold  the  Camera  Steady, 

(The  least  jarring  will  cause  a blurred  negative.) 

Hold  it  Level  and 
Make  the  Exposure. 


The  Sky  Line  Road. 


MAKING  THE  EXPOSURES. 


25 


TIME  EXPOSURES  INDOORS. 

First  put  the  camera  in  position. 
The  diagram  shows  the  proper  posi- 
tion for  the  camera.  It  should  not 
be  pointed  directly  at  a window  as 
the  glare  of  light  will  blur  the  pic- 
ture. If  all  the  windows  cannot  be 
avoided,  pull  down  the  shades  of 
such  as  come  within  the  range  of 
the  camera. 

To  make  a time  exposure,  place 
the  camera  on  some  firm  support, 
like  a table  or  tripod,  focus  carefully  (this,  of  course,  does  not 
apply  to  fixed  focus  cameras)  on  the  principal  object  and  locate 
the  image  in  the  finder. 

When  using  plates,  or  cameras  using  a Premo 
Focusing  on  Film  Pack  Adapter,  the  focusing  may  be  done  on 
the  Ground  the  ground  glass  if  desired.  The  plate  holder  or 

Glass:  adapter  being  removed  and  the  shutter  opened,  the 

image  may  be  seen  (reversed)  upon  the  ground 
glass.  Cover  the  head  with  a focusing  cloth  of  some  opaque  ma- 
terial and  look  on  the  ground  glass,  not  through  it.  Focus  by 
moving  the  lens  back  and  forward  until  the  picture  is  sharp.  Then 
close  the  shutter,  insert  plate  or  roll  holder  and  proceed  as  before 
described. 

If  the  light  is  so  poor  that  the  image  is  seen  with  difficulty  the 
focusing  may  be  done  with  the  largest  stop  and  a smaller  one 
placed  in  position  afterward. 

Set  the  shutter,  and  all  being  in  readiness  press  bulb  or  lever, 
as  the  case  may  be,  to  open  shutter.  Give  the  proper  time  ( using 
a watch  if  more  than  two  seconds)  then  close  the  shutter. 

The  following  table  is  an  excellent  guide  for 
Time  Needed  making  interior  exposures  and  is  based  upon  the 
For  Interior  time  needed  for  exposures  with  the  stop  ordinarily 
Exposures:  used  for  snap  shots  in  single  lens  cameras,  and  with 

the  No.  8 stop  in  all  Rapid  Rectilinear  lenses.  When 
a smaller  stop  is  used  the  time  must  be  increased  proportionately. 
Where  there  are  figures  greater  softness  will  be  obtained  in  the 
faces  by  somewhat  increasing  this  time. 

White  walls  and  more  than  one  window : 

bright  sun  outside.  2 seconds ; cloudy  bright,  10  seconds; 

ha.zy  sun,  5 seconds  ; cloudy  dull,  20  seconds. 

White  walls  and  only  one  window : 

bright  sun  outside,  3 seconds  ; cloudy  bright,  15  seconds  ; 

hazy  sun,  8 seconds ; cloudy  dull,  30  seconds. 

Medium  colored  walls  and  hangings  and  more  than  one  window : 

bright  sun  outside,  4 seconds  ; cloudy  bright,  20  seconds  ; 

hazy  sun,  10  seconds  ; cloudy  dull,  40  seconds. 


Diagram  Showing  Position 
of  Camera. 


26 


MAKING  THE  EXPOSURES. 


Medium  colored  walls  and  hangings  and  only  one  window: 

bright  sun  outside,  6 seconds  ; cloudy  bright,  30  seconds ; 

hazy  sun,  15  seconds  ; cloudy  dull,  60  seconds. 

Dark  colored  walls  and  hangings  and  more  than  one  window : 

bright  sun  outside,  10  seconds  ; cloudy  bright,  40  seconds  ; 

hazy  sun,  20  seconds  ; cloudy  dull,  1 minute,  20  seconds. 

Dark  colored  walls  and  hangings  and  only  one  window : 

bright  sun  outside,  20  seconds  ; cloudy  bright,  80  seconds ; 

hazy  sun,  40  seconds ; cloudy  dull,  2 minutes,  40  seconds. 


The  foregoing  is  calculated  for  rooms  whose  windows  get  the 
direct  light  from  the  sky  and  for  hours  from  3 hours  after  sun- 
rise until  3 hours  before  sunset. 

If  earlier  or  later  the  time  required  will  be  longer. 

As  a general  rule  use  a medium  sized  stop  for  time  exposure 
indoors. 


TIME  EXPOSURES  IN  THE  OPEN  AIR. 

When  the  smallest  stop  is  in  the  lens  the  light  admitted  is 
so  much  reduced  that  time  exposures  out  of  doors  may  be  made 
the  same  as  interiors  but  the  exposure  must  be  much  shorter. 

With  Sunshine — The  shutter  can  hardly  be  opened  and 
closed  quickly  enough  to  avoid  over-exposure. 

With  Light  Clouds — From  y2  to  \ second  will  be  sufficient. 

With  Heavy  Clouds — From  2 to  5 seconds  will  be  required. 

The  above  is  calculated  for  the  same  hours  as  mentioned 
above  and  for  objects  in  the  open  air.  For  other  hours  or  for 
objects  in  the  shadow  under  porches  or  under  trees,  no  accurate 
directions  can  be  given ; experience  only  can  teach  the  proper  ex- 
posure to  give. 

Time  exposures  cannot  be  made  while  the  camera  is  held  in 
the  hand.  Always  place  it  upon  some  firm  support,  such  as  a 
tripod,  chair  or  table. 

. In  the  foregoing  pages  we  have  given  a bare  out- 

Practical  line  Qf  pow  to  make  snap-shots  and  time-exposures, 

Hints:  and  further  on  we  shall  give  the  details  of  develop- 

ment. Before,  however,  taking  up  the  chemical 
part  of  picture  making,  we  propose  to  treat  of  some  of  the  im- 
portant details  of  exposure. 

The  beginner  should  expose  a roll  of  film  or  a few  plates, 
taking  both  snap-shots  and  time  exposures  and  developing  them 
as  per  instructions  on  pages  79  to  98,  before  taking  up  the  study 
of  various  methods  of  portraiture,  etc. 


MAKING  THE  EXPOSURES. 


27 


THE  KODAK  AUTOTIME  EXPOSURE  SCALE. 

We  would  not  feel  justified  in  leaving  the  subject  of  exposure, 
without  adequate  mention  of  the  Kodak  Autotime  Exposure 
Scale. 

The  great  majority  of 
photographic  failures  is 
due  to  incorrect  exposure 
— the  uncertainty  of  just 
how  shutter  speed  and 
diaphragms  should  be  set 
for  various  subjects  under 
various  conditions  of  light. 

In  almost  all  collections 
of  negatives  there  will  be 
found  some  very  thin  and 
lacking  in  detail,  indicating 
under-exposure,  or  very 
flat,  indicating  over- 
exposure. 

The  Kodak  Autotime 
Exposure  Scale  obviates 
exposure  difficulties  with 
all  outdoor  conditions ; it  is  permanently  attached  to  the  shutter, 
and  knowing  the  subject  you  wish  to  photograph,  and  the  condi- 
tions of  light,  a glance  at  the  scale  will  show  you  the  proper 
point  to  set  the  shutter  speed  and  diaphragm  indicators.  The 
accompanying  illustration  shows  clearly  the  principle  on  which  it 
works. 

NOTE— The  Kodak  Autotime  Scale  is  a part  of  the  Kodak  Automatic  Shutter, 
and  can  be  furnished  as  an  extra  on  the  following  shutters  : 

Style  A.  For  use  with  Kodak  Ball  Bearing  shutter,  21/  x 4% 
and  3 % x 4%. 

Style  AA.  For  use  with  Kodak  Ball  Bearing  shutter,  3%  x 5j/2 
and  4x5. 

Style  B.  For  use  with  F.  P.  K.  Automatic,  2Y>  x 4%  and 
3$4  x 4%,  No.  1 S.  V.  (Blair  or  Premo)  Automatic,  or  No.  1 B. 
& L.  S.  V.  Automatic  shutters. 

Style  BB.  For  use  with  F.  P.  K.  Automatic,  3Y\x  Sy2,  and 
4x5,  No.  2 S.  V.  (Blair  or  Premo)  Automatic,  or  No.  2 B.  & 
L.  S.  V.  Automatic  shutters. 

Style  C. . For  use  with  Kodak  Automatic  shutter,  3%x  4%. 

Style  CC.  For  use  with  Kodak  Automatic  shutter,  3%  x 5p2 
and  4x5. 

Style  D.  For  use  with  B.  & L.  Automatic  and  Century  Auto- 
matic shutters,  3Y  x 4%. 

Style  DD.  For  use  with  B.  & L.  Automatic  and  Century  Auto- 
matic shutters,  3Y  x 5Y  and  4x5. 

Style  DDD.  For  use  with  B.  & L.  Automatic  shutter,  4Y  x6^. 


28 


MAKING  THE  EXPOSURES . 


THE  RISING  AND  SLIDING  FRONT. 


Occasionally  in  the  taking  of  photographs  of  buildings  or  in 
landscape  photography  it  is  found  that  the  subject  cannot  all  be 
readily  included  except  by  tilting  the  camera,  which  would  pro- 
duce the  undesirable  results  shown  on  page  23.  To  assist  in  cor- 
recting this  fault  some  cameras  are  provided  with  a rising  front, 
which  may  be  utilized  in  cutting  out  an  undesirable  foreground  or 
to  assist  in  taking  in  the  top  of  a high  building,  etc.  To  illustrate 
this  we  take  the  No.  3A  Folding  Pocket  Kodak,  which  is  manipu- 
lated as  follows : 


Fig.  I.  shows  how  to 
raise  or  lower  the  front 
when  making  vertical  ex- 
posures. Pull  out  the  small 
milled  head  on  the  right 
hand  side  of  the  front,  and 
raise  or  lower  the  front  by 
turning  the  milled  head. 

When  the  front  is  at  the 
desired  height  let  the 
milled  head  spring  back 
into  its  original  position. 

This  will  lock  the  front  in 
place.  When  through 
using  pull  out  the  milled 
head  and  center  lens  by 
moving  the  front  up  or 
down,  as  the  case  may  be,  Fig.  I. 

until  the  opening  in  the 

little  metal  clasp  is  directly  over  the  line  on  the  standard. 

The  front  can  be 
moved  to  the  right  or  left 
(up  and  down  when 
Kodak  is  placed  on  its 
side  for  horizontal  ex- 
posure)  by  loosening 
thumb  screw  directly 
under  the  shutter  as 
shown  in  Fig  II.,  and 
sliding  front  in  either  di- 
rection to  the  desired  po- 
sition. Lock  in  position 
by  tightening  thumb 
screw.  When  through 
using,  reverse  the  opera- 
tion shown  in  Fig.  II., 
and  slide  back  to  the  cen- 
ter and  lock  in  position. 
In  order  to  make  a 
sharp  picture  when  using  the  rising  front  it  will  be  better  to  use 
a small  stop  (No.  32  or  64)  and  as  this  in  turn  necessitates  a 


MAKING  THE  EXPOSURES 


29 


time  exposure,  a tripod  or  other  firm  support  must  be  provided. 
Experience  alone  can  teach  the  many  ways  in  which  the  rising 
and  sliding  front  may  be  used  for  composing  artistic  pictures. 

N.  B. — Do  not  fail  to  center  front  before  closing  camera,  as  otherwise  ^ere  is 
danger  of  ruining  bellows  when  folding. 


Summer  Time. 


A Good  Flight. 


Picture  Taking. 

Having  familiarized  yourself  with  the  operation  of  your  cam- 
era and  its  various  parts,  and  studied  carefully  the  sections  de- 
voted to  the  use  of  stops  and  exposure  the  supreme  test  comes  in 
the  taking  of  the  actual  picture. 

There  are,  of  course,  subjects  everywhere  for  your  camera, 
but  we  would  suggest  beginning  on  simple,  well  illuminated  land- 
scapes, keeping  a careful  record  as  to  the  time  of  day,  stop  open- 
ing and  duration  of  exposure.  By  so  doing  you  will  not  only  be 
able  to  correct  the  errors  in  your  early  efforts  but  will  have  a 
practical  knowledge  of  exposure  that  will  be  of  material  value  in 
the  solving  of  the  more  complex  problems  of  indoor  work.  It 
will  be  well  to  bear  in  mind  that  for  all  work  including  objects 
in  motion,  sunlight  is  necessary.  The  nearer  the  object  to  be 
photographed  is  to  the  camera  the  more  rapid  must  be  the  work- 
ing of  the  shutter. 

PHOTOGRAPHING  MOVING  OBJECTS. 

In  most  instances  where  the  beginner  attempts  the  photograph- 
ing of  moving  objects,  the  result  will  be  disappointing,  this  is 
due  solely  to  his  lack  of  appreciation  of  the  circumstances  and  the 
actual  conditions  confronting  him.  For  example,  he  takes  his 
camera  to  the  race  track  to  photograph  a friendly  brush  between 
local  trotters. 

Securing  a position  just  under  the  wire  he  waits  for  the  finish, 
and  as  the  horses  rush  by  at  a 2:10  clip  he  snaps  them  broadside 
from  a distance  of  ten  feet,  and  fails  to  understand  why  the  nega- 
tive should  show  nothing  but  a blur,  for  he  will  have  nothing  else. 
The  reason  for  his  failure  is  this;  if  he  has  a double  lens  instru- 
ment with  an  F.  P.  Kodak  Automatic  shutter  it  has  worked  in  ap- 
proximately 5V  of  a second,  an  apparently  very  short  space  of 
time,  but  we  find  on  figuring  it  out  that  a horse  covering  a mile 
in  2:10  covers  40  feet  and  8 inches  in  one  second  of  time  or  over 
nine  inches  in  of  a second,  the  time  the  shutter  is  open — a suf- 

ficient distance  to  make  a most  decided  blur.  The  distance  the 
image  will  move  on  the  plate  during  exposure  is  to  the  distance  the 
object  moves,  as  the  focal  length  of  the  lens  is  to  the  distance 
from  lens  to  object.  In  this  case  we  will  suppose  the  focus  of  the 
lens  to  be  six  inches,  and  we  know  the  distance  from  lens  to 
object  to  be  ten  feet  (120  inches)  and  the  distance  the  object 
moves  approximately  nine  inches.  We  will  let  X stand  for 
distance  image  moves  on  plate  and  it  gives  us  the  following  equa- 
tion : X : 9 : : 6 : 120=T\.  It  is  obvious  that  if  the  object 

moves  of  an  inch  on  the  plate  the  picture  will  be  ruined.  We 
find  then  that  in  order  to  take  pictures  of  moving  objects  at  right 
angles  there  are  two  factors  of  prime  importance— the  speed  of 
the  shutter  and  distance  from  the  object.  In  the  ordinary 
amateur  outfit  the  shutter  speed  cannot  be  materially  increased  and 
we  must  therefore  take  the  picture  from  further  away.  Experiment 


32 


OUT-DOOR  WORK. 


has  proven  that  in  order  to  sucessfully  take  pictures  of  rapidly- 
moving  horses,  etc.,  from  a position  near  by  and  at  right  angles 
the  shutter  must  work  in  from  toyijWof  a second  (Muybridge 
claimed  to  have  used  a shutter  working  in  goVu  of  a second)  and 
this  extreme  speed  necessitates  a special  camera  and  lens  as  well 
as  a special  shutter. 

While  splendidly  adapted  for  all  classes  of  work,  the  1A 
Speed  and  4A  Speed  Kodaks  are  of  the  special  construction 
necessary  for  this  extreme  speed  work,  as  the  focal  plane  shut- 
ters with  which  they  are  equipped  work  up  to  toVo  of  a second. 
As  previously  stated  the  focal  plane  shutter  differs  from  the 
between  the  lens  shutter  of  the  ordinary  Kodak  in  that  it  is 
placed  at  the  back  of  the  camera,  just  in  front  of  the  sensitive 
film,  close  to  the  focal  plane  of  the  image,  (which  gives  this  type 
of  shutter  its  name).  The  focal  plane  shutter  consists  of  a cloth 
curtain  with  a series  of  apertures,  any  one  of  which  can  be  made 
to  pass  across  the  face  of  the  film.  The  speed  of  the  exposure 
is  regulated  by  the  width  of  this  aperture  in  the  curtain  and  a 
tension  spring  in  one  of  the  rollers  upon  which  the  curtain  is 
wound.  Continuing  the  explanation  of  the  photographing  of 
rapidly  moving  objects,  it  is  obvious  that  when  a moving  object  is 
within  the  field  of  a lens,  its  image  is  also  moving  across  the 
focal  plane  of  the  film.  To  obtain  a sharp  negative  of  this  mov- 
ing object  with  the  focal  plane  shutter  it  is  necessary  that  the 
aperture  in  the  curtain  of  the  shutter  travel  across  the  face  or 
focal  plane  of  the  film,  and  pass  a space  equal  to  the  width  of 
the  aperture  in  the  curtain  at  a higher  rate  of  speed  than  the 

But  there  are  tricks  in 
all  trades  and  satisfactory 
pictures  of  rapidly  moving 
objects  can  be  readily 
made  by  photographing 
them  from  partly  in  front 
as  well  as  from  a reason- 
able distance.  The  accom- 
panying picture  of  the  Em- 
pire State  Express,  mov- 
ing at  full  speed,  shows 
plainly  what  can  be  done 
in  this  direction.  It  was 
made  with  a Pocket  Kodak 
and  is  a good  illustration 
of  what  can  be  accom- 
plished by  taking  the  picture  from  a point  at  a considerable  dis- 
tance from  the  object  and  also  somewhat  ahead  of  it.  By  acting 
on  this  hint  the  amateur  can  soon  learn  to  take  pictures  of  rapidly 
moving  objects,  and  in  such  a manner  as  to  largely  avoid  the 
disagreeable  blurring. 

In  the  ordinary  snap  shot  work,  with  comparatively  slow  ex- 
posures, the  length  of  exposure  is  considered  as  'he  most  im- 
portant factor,  and  while  this  is  important  in  photographing 


image  of  the  object  is  moving. 


Empire  State  Express. 


OUT-DOOR  WORK. 


33 


rapidly  moving  objects,  the  most  important  factor  is  the  speed  of 
the  moving  object,  because  the  negative  of  this  object  must  be 
sharp  to  be  of  any  value.  Further,  it  is  not  the  actual  speed 
of  the  moving  object,  but  the  speed  with  which  its  image  moves 
across  the  face  of  the  film,  and  this  speed  is  increased  or  dimin- 
ished according  to  the  angle  of  movement  in  relation  to  the  lens. 
To  make  this  point  clear,  let  us  take  a man  running,  at  a distance 
of  twenty-five  feet.  If  the  line  of  movement  be  across  the  field 
at  right  angles  to  the  lens,  the  movement  across  the  film  will  be 
very  rapid,  but  if  towards  the  lens  the  motion  of  the  image  is 
very  slight.  Unless  for  some  special  purpose  better  negatives  and 
better  pictorial  effects  are  produced  by  photographing  from  an 
angle  of  from  45  to  60  degrees.  The  user  of  the  focal  plane  shut- 
ter must  bear  in  mind  that  the  shutter  curtain  aperture  has  noth- 
ing whatever  to  do  with  the  depth  of  focus.  The  shutter  is 
concerned  with  the  speed  of  the  exposure  only,  and  whatever 
the  aperture  in  the  curtain,  it  will  have  no  influence  as  to  the 
depth  of  focus.  It  is  the  lens  aperture  that  concerns  the  depth 
of  field.  This  aperture  is  regulated  by  means  of  iris  diaphragm  or 
stops,  as  stated  on  page  17.  The  size  of  the  aperture  of  the 
stop  determines  the  depth  of  the  focus  of  the  lens,  that  is,  the 
sharpness  of  definition  of  objects  at  varying  distances  from  the 
camera,  and  it  also  necessarily  determines  the  volume  of  light  that 
passes  through  the  lens  in  a given  period  of  time.  The  smaller 
the  aperture  of  the  lens,  the  greater  the  depth  of  focus,  but  the 
weaker  the  volume  of  light.  Therefore  in  making  very  rapid  ex- 
posures with  the  focal  plane  shutter,  it  is  necessary  to  use  a 
small  curtain  aperture  to  obtain  sufficient  speed  to  arrest  motion, 
and  at  the  same  time  the  largest  permissible  lens  diaphragm  to  ad- 
mit the  greatest  possible  volume  of  light  in  order  that  the  image 
be  recorded  in  sufficient  strength  on  the  sensitive  film  to  produce 
a good  negative.  In  making  slow  instantaneous  exposures,  a 
larger  curtain  aperture  may  be  employed,  and  if  the  light  is  strong, 
a smaller  lens  diaphragm,  to  increase  the  depth  of  focus  and 
secure  greater  definition. 

It  is  not  so  much  the  actual  speed  of  the  object  as 
Speed  the  apparent  movement  with  which  the  image  of 

Factors:  the  object  passes  across  the  surface  of  the  film. 

This  movement  is  determined  by  the  actual  speed 
of  the  object,  the  angle  of  movement  to  the  lens,  the  distance  of 
the  object  from  the  lens,  and  the  focal  length  of  the  lens. 

When  these  factors  are  known  it  is  a simple  problem  to  de- 
termine the  movement  of  the  image  over  the  surface  of  the  film 
and  how  fast  the  shutter  must  travel  to  arrest  motion. 

The  same  conditions  that  determine  the  appatent  speed  also 
decide  the  size  of  the  image,  so  that  a modification  of  one  factor 
of  necessity  influences  the  others. 

. It  has  been  demonstrated  that  in  high  speed  work, 

Size  of  the  bggj-  results  are  secured  when  the  image  of  a 

Image:  man  is  about  one  and  one-half  inches  in  height, 

while  the  image  of  a rapidly  moving  horse  should 
not  exceed  one  inch  from  shoulder  to  hoof. 


34 


OUT-DOOR  WORK. 


In  attempting  to  arrest  rapid  motion  with  an  image  greater 
than  above,  you  have  to  sacrifice  both  time  of  exposure  and 
depth  of  field  in  the  attempt  to  arrest  motion. 

. The  distance  of  the  object  when  the  photographer 

Distance  of  can  control  it,  is  naturally  largely  determined  by  the 

Object:  size  of  image  wanted  and  the  focal  length  of  the 

lens  used. 

When  the  distance  is  beyond  the  operator’s  control,  his  only 
remedy  is  to  use  a lens  of  suitable  focal  length. 

In  ordinary  photography,  the  photographer  soon 
Depth  ol  learns  that  the  smaller  the  lens  diaphragm,  the 

Lens  Field:  greater  the  depth  of  field.  In  high  speed  work  it  is 

necessary  to  secure  the  greatest  possible  illumina- 
tion, entailing  the  use  of  a large  lens  opening  which  limits  the 
depth  of  field. 

In  high  speed  work,  it  is  not  possible  to  secure  perfect  defini- 
tion of  all -objects  in  the  field  and  the  photographer  must  be 
content  with  securing  perfect  definition  in  the  portion  containing 
che  greatest  interest. 

An  important  fact  is  this — that  no  matter  what  the  focal 
length  of  the  lens  used,  if  the  photographer  will  be  content  with 

an  image  V/2  inches  in  height  he  will  get  sufficient  depth  with 

the  largest  aperture  of  his  lens. 

It  is  only  when  dealing  with  unusual  subjects,  such  as  large  or 
extended  groups,  that  it  may  be  necessary  to  determine  the 
largest  stop  that  can  safely  be  used  and  still  retain  good 
definition. 

SUBJECTS. 

Action  in  the  ordinary  amusements  of  children  is 
Children  at  comparatively  slow,  and  extremely  short  exposures 

Play:  are  unnecessary,  and  in  but  rare  instances  will  a 

shutter  speed  higher  than  T^o  of  a second  be  re- 
quired. As  children  average  about  one-half  the  height  of  an 
adult,  to  obtain  an  image  one  and  one-half  inches  high  it  will 
necessitate  working  somewhat  closer  to  the  subject.  This  natural- 
ly lessens  the  depth  of  the  field,  making  it  necessary  to  use  a 
smaller  stop,  about  /. 8 for  small  groups. 

, Taken  in  an  ordinary  room,  within  six  feet  of  a 

Children  s window  open  to  the  clear  sky,  portraits  of  children 

Portraits:  in  light  colored  dresses  may  be  taken  with  the 

largest  stop  of  the  lens,  with  an  exposure  of  from 
one  to  three  seconds.  Out  of  doors,  employ  a shaded  spot,  with 
an  exposure  of  from  to  of  a second. 

It  must  be  taken  into  consideration  that  when  a 
Foot  Races:  man  runs  100  yards  in  ten  seconds,  this  is  true  of 

his  body  only,  and  that  his  feet  are  traveling  twice 
as  fast.  So  in  calculating  the  shutter  speed  it  must  be  decided 
whether  or  not  the  entire  image  of  the  runner  is  to  be  perfectly 
sharp. 


i 


KODAK  VELVET  GREEN  Kodak  Negatave 

Double  Weight 


OUT-DOOR  WORK. 


35 


With  a lens  of  8^2  inch  focus,  the  runners  should  be  photo- 
graphed at  a distance  of  35  feet,  and  if  they  are  moving  at  right 
angles  to  the  lens,  a shutter  speed  of  of  a second  will  render 
the  body  perfectly  sharp,  but  the  feet  will  not  be  perfectly  de- 
fined. The  entire  image  perfectly  sharp  would  demand  an  ex- 
posure of  14V0  of  a second. 

For  best  results,  both  pictorial  and  mechanical,  photograph  your 
subjects  at  an  angle  of  about  45  degrees  to  the  lens,  the  exposures 
will  then  be  yfo  and  toW  respectively. 

For  long  races,  a slightly  slower  shutter  speed  is  permissible, 
but  the  largest  stop  of  the  lens  must  always  be  used. 

If  the  ball  is  the  objective,  use  the  fastest  speed  and 
Base  Ball  the  distance  between  it  and  the  player  must  be  50% 
and  greater  than  when  the  player  is  the  object.  When 

Tennis:  possible  select  a point  in  which  the  ball  travels  di- 

rectly toward  or  away  from  the  lens. 

A base  runner  should  be  considered  as  moving  as  swiftly  as  a 
hundred  yard  sprinter.  At  bases  the  movement  is  comparatively 
slow,  and  about  3-^0  of  a second  exposure  will  be  sufficient. 

Owing  to  the  similarity  of  action,  what  has  been  said  of 
base  ball  applies  equally  well  to  tennis,  except  that  in  tennis 
the  action  is  not  quite  so  rapid. 

Such  subjects  should  be  handled  in  the  same 

Horse  manner  as  a man  running,  because  a horse’s 

Racing:  hoof,  when  off  the  ground,  moves  twice  as  fast  as 

his  body. 

Photograph  when  possible  at  an  angle  of  45  degrees  to  the  lens. 

Trains  should  be  handled  at  a distance  of  not  less 
Fast  Trains  than  100  feet,  so  as  to  include  the  whole  train. 

and  Best  results  are  obtained  at  an  angle  of  45  degrees 
Automobiles:  or  less  toward  the  camera.  At  45  degrees  200  of  a 
second  will  arrest  the  movement  on  the  film  of  a 
train  moving  at  35  miles  an  hour,  while  4^0  will  be  enough  for 
one  traveling  at  the  rate  of  60  miles.  Double  these  speeds  if 
sharp  definition  of  the  wheels  is  required. 

An  automobile  may  be  considered  as  a locomotive,  and  shut- 
ter speeds  figured  accordingly.  At  an  angle  of  45  degrees,  the 
slower  machines  may  be  taken  at  a distance  of  fifty  feet,  with 
an  exposure  of  ToVe  of  a second. 

For  higher  speeds,  it  is  better  to  increase  the  distance  in  pro- 
portion to  the  speed  of  the  machine,  rather  than  to  depend  on  a 
faster  shutter  speed. 

Simply  because  your  lens  has  a large  opening  do  not  feel  that 
you  must  use  it.  On  the  other  hand,  for  the  sake  of  increased 
depth  of  focus — i.  e.  sharpness  in  both  near  and  far  objects, 
use  the  smallest  opening  that  will  give  a fully  timed  negative. 
Don’t  use  buck-shot  for  shooting  quail — you  will  be  more  likely 
to  get  quail  with  bird-shot.  The  small  opening  covers  a multi- 
tude of  errors  in  focusing. 


Valley  Green, 


Landscape  Photography 


In  taking  up  the  actual  making  of  the  picture  we  purposely 
began  with  the  photographing  of  moving  objects  as  such  sub- 
jects are  so  frequently  encountered  in  landscape  work. 

By  familiarizing  you  with  this  subject  you  are  forewarned 
and  forearmed  as  to  both  the  limitations  and  possibilities  of 
whatever  equipment  you  are  using. 

In  landscape  photography  we  advise  against  the  introduction 
of  human  figures  as  in  nearly  all  cases  they  fail  either  in  cos- 
tume or  in  pose,  to  harmonize  with  your  subject. 

The  domestic  animals,  such  as  horses,  cows  and  sheep,  can 
however  frequently  be  introduced  with  success. 

When  human  figures  are  introduced,  avoid  having  them  look 
directly  at  the  camera  and  see  that  they  harmonize  with  your 
pictures  in  pose,  or  in  action. 

The  physical  side  of  picture  making,  exposure  and  develop- 
ment, is  much  more  easily  mastered  than  the  artistic. 

While  it  is  true  that  there  are  some  few  individuals  possessed 
of  an  inherent  sense  of  the  artistic,  most  of  us  have  to  give, 
in  advance,  a good  bit  of  study  and  thought  before  we  can  pro- 
duce results  even  bordering  on  the  artistic. 

To  fully  cover  the  subject  of  artistic  composition  would  re- 
quire more  pages  than  are  devoted  to  this  entire  book,  but  we 
can  in  a general  way  afford  suggestions  that  will  aid  greatly  in 
avoiding  or  overcoming  most  of  the  errors  apparent  in  un- 
studied work. 

The  great  secret  of  artistic  work  is  simplicity,  the  avoidance 
of  overcrowding,  and  the  employment  of  the  fewest  lines  and 
masses  in  the  composition  of  your  picture.  Next  in  rank  to  sim- 
plicity is  harmony  and  balance,  and  without  these,  artistic  com- 
position is  impossible,  and  in  this  connection,  it  may  not  be  neces- 
sary to  state  that  the  fewer  elements  that  enter  into  your  pic- 
ture, the  easier  it  will  be  to  bring  them  into  harmony  and  balance. 

One  of  the  faults  oftenest  in  evidence  in  the  work  of  the  be- 
ginner in  photography  is  the  desire  to  include  too  much  within 
the  confines  of  his  picture. 

You  frequently  see  material  for  two,  or  even  more  complete 
pictures  crowded  into  one  with  the  result  that  the  eye  wanders 
confusedly  from  one  point  to  another,  and  affording  only  a sense 
of  irritation  rather  than  that  of  pleasure. 

First,  have  a reason  for  making  your  picture — either  to  pre- 
serve a record  of  some  interesting  place  or  occasion,  to  picture 
the  beauty  of  some  bit  of  land  and  sky,  or  to  produce  a picture 
appealing  to  the  observer  by  its  beauty  of  line  or  tone. 

A successful  picture  may  combine  all  of  these  qualities,  but 
one  is  always  dominant  and  there  should  never  be  any  question 
as  to  its  reason  for  being. 


38 


OUT-DOOR  WORK. 


It  is  to  be  regretted  that  composition  is  not  an  exact  science 
that  can  be  depended  upon  mechanically  to  produce  results.  We 
can,  nevertheless,  apply  sufficient  of  its  general  principles  that  to- 
gether with  the  study  of  good  pictures,  will  aid  us  materially  in 
avoiding  the  inartistic. 

Bringing  things  together  in  an  orderly  and  symmetrical  ar- 
rangement is  perhaps  as  good  a definition  of  composition  as 
any. 

Selection  must  however  precede  composition,  and  the  first  les- 
son must  be  to  learn  to  leave  out  what  is  not  required. 

Examine  any  one  of  your  earlier  attempts  at  landscape  mak- 
ing and  you  will  find  that  your  negative  includes  a whole  lot  of 
unnecessary  things  that  you  failed  to  observe. 

In  this  matter  of  selection,  a good  rule  is  to  seek  first  a good 
foreground,  one  that  will  lead  you  unobtrusively,  yet  pleasantly 
up  to  the  principal  object  in  your  picture. 

Choose  your  view  point  carefully,  remembering  that  while  the 
painter  can  eliminate  what  he  desires,  you  have  an  almost  equal 
advantage  in  that  you  can  move  your  camera  to  the  right  or  left, 
up  or  down,  or  focus  on  a different  plane,  and  with  different  stop 
openings,  to  secure  the  effect  you  desire. 

In  perfecting  your  composition  the  following  underlying  prin- 
ciples must  be  observed. 

Your  picture  must  have  a dominant  figure  or  object  to  which 
all  other  parts  of  the  picture  must  be  subordinate.  There  should 
be  some  object  of  secondary  interest  connected  with  your  prin- 
cipal object.  For  instance,  if  your  principal  object  is  a clump  of 
trees,  a second  clump,  a little  further  away;  or  again,  a woman 
playing  with  a child,  or  watching  an  incoming  boat — this  consti- 
tutes the  motif  of  your  picture. 

Remember  always  that  the  background  must  be  subordinate  and 
unobtrusive. 

Also  that  there  should  not  be  two  highlights  or  deep  shadows 
of  equal  importance,  and  that  when  possible  the  deepest  shadow 
should  meet  the  highest  light. 

And  finally  that  the  most  important  position  in  a picture  is 
always  more  or  less  towards  the  center,  either  to  the  right  or  left, 
the  exact  center  should  be  avoided  as  this  divides  the  picture  into 
equal  parts. 

The  horizon  line,  which  in  most  landscapes  is  the  more  con- 
spicuous, should  never  divide  the  picture  into  two  equal  parts,  but 
should  be  approximately  either  one-third  from  the  top  or  from 
the  bottom. 

When  there  are  subjects  in  the  near  foreground,  the  line  should 
be  about  one-third  from  the  top,  while  for  broad  expansive  views 
it  should  be  at  the  same  distance  from  the  bottom. 

With  the  latter,  one  should  have,  if  possible,  a clouded  sky. 
Clouds  are  a decided  advantage  inasmuch  as  they  break  up  the 
monotony  of  a white  sky  and  add  greatly  to  the  beauty  and  attrac- 
tiveness of  the  picture. 


Portico  Made  with  aid  of  Kodak  Autotime  Scale. 


40 


OUT-DOOR  WORK. 


Of  equal  importance  with  the  arrangement  of  the 
Lighting:  objects  in  your  picture  is  the  question  of  lighting, 

as  the  lighting  determines  the  strength  and  position 
of  your  lights  and  shades.  Beginners,  as  a rule,  when  making 
exposures  in  the  sunlight,  should  have  the  sun  behind  the  back 
or  over  the  shoulder,  but  the  advancement  of  the  amateur  war- 
rants further  information. 

Effective  pictures  may  frequently  be  made  by  having  the  sun 
to  one  side,  and  at  various  times  the  value  of  the  picture  is  in- 
creased by  its  being  a trifle  to  the  front.  (In  such  case  it  will 
be  necessary  to  shade  the  lens  to  keep  out  the  direct  sunlight  dur- 
ing the  exposure.) 

As  an  illustration  let  us  take  a tree  in  the  bright  sunshine, 
walk  around  it  and  closely  observe  the  different  effects  of  light 
and  shade.  You  will  notice  that  when  you  face  the  tree  and  the 
sun  is  directly  back  of  you  that  the  tree  has  the  appearance  of 
being  flat ; as  you  move  gradually  to  the  right  or  left  you  will  see 
that  part  of  it  is  in  shadow",  and  as  you  arrive  at  an  angle  of  90 
degrees  with  your  first  position  you  will  find  that  one  side  is  in 
the  sunlight  while  the  opposite  side  is  in  shadow,  and  that  it 
stands  out  with  the  pleasing  contrast  of  light  and  shade,  thus  af- 
fording depth  and  roundness. 

The  shadows  should  also  have  careful  study.  These  should 
be  transparent  to  a degree,  always  containing  detail. 

Heavy  black  shadows,  devoid  of  detail,  are  always  a detri- 
ment to  your  composition.  When  the  sun  is  very  bright  and  the 
lights  are  strong  while  the  shadows  are  black,  the  result  with  a 
snap  shot  would  be  too  great  contrast.  This  can  be  overcome  by  a 
very,  very  short  time  exposure,  resulting  in  a softening  of  the 
highlights  and  an  added  amount  of  detail  to  the  shadows.  When 
photographing  boats,  the  point  of  view  to  be  obtained  (if  possible) 
should  be  such  that  the  shadow  effects  on  the  water  are  made  to 
help  the  composition. 


Street  Photography. 

The  successful  picturing  of  street  scenes  requires  both  thought 
and  dexterity  on  the  part  of  the  amateur. 

He  must  bear  in  mind  that  he  will  have  to  work  quickly  and 
quietly,  attracting  as  little  attention  as  possible,  and  he  must  be 
able  to  take  in  a pleasing  and  interesting  situation  at  a glance. 

This  class  of  work  demands  perfect  understanding  of  all  the 
workings  of  the  camera,  the  ability  to  level  and  focus  quickly,  and 
expose  the  instant  the  conditions  are  right. 

The  ability  to  level  the  camera  quickly  and  accurately  is  par- 
ticularly important,  as  in  most  instances  the  architecture  of  the 
surrounding  buildings  will  show,  and  if  the  camera  is  not  level, 
the  building  lines  will  be  anything  but  pleasing. 

A good  many  pictures  of  street  scenes  show  that  a number 
of  persons  were  looking  at  the  camera  when  the  exposure  was 
made.  For  instance,  take  a group  of  youngsters  interested  in 
some  game,  their  action,  intensity  and  unconsciousness  is  what 
makes  the  picture.  Let  them  become  aware  of  your  purpose,  the 
game  stops  and  all  stare  at  the  camera,  thus  spoiling  the  op- 
portunity for  a successful  bit  of  work. 

The  holding  of  the  camera  during  exposure  is  also  important. 
Many  pictures  show  that  the  point  of  view  from  which  they  were 
taken  was  too  low. 

The  distance  upward  from  the  ground  or  object  upon  which 
we  stand  to  the  level  of  the  eyes,  or  the  point  of  view  from  which 
we  see  our  subject  will  range,  in  most  cases,  from  four  and  one- 
half  to  five  and  one-half  feet. 

Now  if  we  hold  the  camera  ten  inches  or  so  above  our  knees 
it  can  readily  be  seen  that  the  point  of  view  is  radically  changed, 
and  that  the  effect  produced  upon  the  eye  might  be  entirely  lost 
if  taken  from  that  position.  The  proper  place  is  against  the 
chest,  or  as  high  as  we  can  manage  it  and  still  see  what  is  in  the 
finder. 


Architectural  and 
Interior  Photography. 

The  amateur  and  particularly  the  tourist  frequently  encounters 
architectural  subjects  possessing  most  interesting  features  from 
the  structural  or  historic  point  of  view. 

In  straight  architectural  work  full  detail  is  essential  and  in 
most  cases  entails  the  use  of  small  stop  openings,  and  a time  ex- 
posure. 

This  branch  of  the  work  makes  imperative  the  absolute  level- 
ing of  the  camera,  in  order  to  avoid  distortion,  and  the  worker 
should  likewise  carefully  read  the  instructions  regarding  the  rising 
and  sliding  front  as  this  attachment  is  most  valuable  in  this 
work  when  used  intelligently. 

A diagonal  rather  than  a full  front  view  of  a building  will 
usually  be  found  the  more  pleasing,,  particularly  so  if  a portion 
of  the  building  is  in  shadow. 

In  detail  work,  the  position  of  the  camera,  is  important : Door- 
ways and  windows  should  be  taken  full  front,  if  taken  from  one 
side  the  correct  effect  of  the  top  is  often  lost. 

Exposure  should  be  ample  especially  for  interior  work,  as  an 
under-timed  negative  will  not  only  fail  to  bring  out  the  detail 
but  the  contrasts  will  be  too  great. 

Eastman  N.  C.  Film  will  be  found  especially  valuable  for  this 
class  of  work,  on  account  of  its  non-halation  and  orthochromatic 
qualities. 

In  photographing  interiors  such  as  the  ordinary  living  room  of 
a home,  some  thought  must  be  given  as  to  the  arrangement  of  the 
portion  of  the  room  to  be  pictured.  By  all  means  avoid  crowd- 
ing; do  not  attempt  to  include  every  bit  of  furniture  in  the  room 
within  the  confines  of  your  picture,  and  be  careful  that  the  larger 
objects,  such  as  heavy  chairs  or  the  like  do  not  come  in  the  im- 
mediate foreground  as  they  will  then  photograph  out  of  proportion. 

If  the  pictures  on  the  walls  are  glazed,  avoid  if  possible  re- 
flections from  the  glass,  such  reflections  can  frequently  be  avoided 
by  pulling  down  one  of  the  window  shades. 

When  possible  photograph  across  the  light  coming  from  a win- 
dow, rather  than  directly  toward  it,  as  by  so  doing  you  will  ob- 
tain better  gradation  and  avoid  the  halation  as  well. 

One  last  word : Take  plenty  of  time  in  selecting  your  view 

point,  and  in  arrangement,  and  give  plenty  of  time  for  the  ex- 
posure. 


Home  Portraiture. 

Before  beginning  the  making  of  exposures  in  and 
The  Photo-  around  the  home,  it  is  most  essential  that  the 

graphic  Kodaker  understands  the  power  of  light  in  order 

Value  of  that  his  exposures  may  come  within  the  limits  of 

Light:  the  latitude  of  the  film,  and  approach  the  normal 

or  correct  exposure  as  nearly  as  possible. 

The  beginner  is  very  apt  to  be  misled  into  estimating  his 
exposure  according  to  the  visual  rather  than  the  actinic  power 
of  the  light;  in  other  words,  a light  that  appears  exceedingly 


White  Dresses  are  Very  Helpful  in 
Shortening  Exposures. 


bright  and  powerful  to  the  eye  may  have  but  weak  recording 
power  on  the  sensitive  film.  The  actinic  power  of  the  light  is 
diminished  by  refraction  and  absorption.  As  an  example,  examine 
the  light  on  a bright  sunny  afternoon  about  two  o’clock.  Out- 
doors in  this  light  a fully  timed  negative  can  be  produced  in 
1-100  of  a second  at  stop  U.  S.  8.  Now  enter  a room  on  the  sunny 
side  of  the  house,  one  having  good  large  plate  glass  windows, 
with  white  walls  and  white  wood  work;  the  light  appears,  if  any- 
thing, brighter  than  outdoors.  Now  make  an  exposure,  with  the 


44 


HOME  PORTRAITURE. 


same  speed  and  stop  opening,  placing  the  subject  close  to  the  win- 
dow, and  we  find  upon  development  that  this  exposure  is  very 
much  under  timed.  In  this  case  the  loss  of  actinic  power  of  the 
light  is  due  to  the  refraction  and  absorption  of  the  light  rays  by 
the  window  glass,  and  to  the  fact  that  there  is  no  direct  ex- 
posure to  the  light  of  the  whole  sky.  To  obtain  a negative  equal 
in  density  to  the  first  one  it  will  be  necessary  to  give  an  exposure 
of  from  one  to  two  seconds,  or  one  hundred  to  two  hundred 
times  as  long  as  for  the  exposure  just  the  other  side  of  that  de- 
ceptive piece  of  glass. 


A Flash-light  Portrait — Eastman  Flash  Sheet. 


Next  try  an  exposure  in  the  nice  light  dining  room,  with  its 
bright  red  rug,  and  bright  red  wall  paper — two  seconds  exposure 
should  be  plenty.  Well,  what  is  the  matter;  used  same  speed  and 
same  stop,  and  the  light  was  just  as  good  as  in  that  room,  and 
yet  a bad  under  exposure.  Could  the  color  of  the  rug  and  wall 
have  had  anything  to  do  with  it?  That  is  the  solution.  Anything 
red  in  color  has  the  power  to  absorb  a great  portion  of  the  light 
rays  that  would  have  any  effect  on  the  film — your  dark-room 
lamp  is  fitted  with  a ruby  glass.  With  the  white  walls  one  is 
aided  by  the  light  reflected  back  from  their  surfaces  in  just  about 
the  same  proportions  as  the  other  exposure  was  lengthened  by  the 
absorbing  power  of  the  red  walls  and  floor  covering. 

Now  try  two  further  experiments.  Take  your  subject  outside 
again,  on  the  shady  side  of  the  house,  but  where  you  can  obtain 


HOME  PORTRAITURE. 


45 


Placing  Subjects  Close  Against  the  Window,  Securing  Good 
Illumination  with  Very  Short  Exposure. 


40 


HOME  PORTRAITURE. 


direct  illumination  from  the  sky.  To  your  eyes,  this  location  would 
seem  to  require  a longer  exposure  than  the  one  in  the  room  with 
the  white  walls,  but  try  an  exposure  of  1-10  second.  This  de- 


A Snap  Shot  Made  Possible  by  Light 
Reflection  from  Below. 


velops  up  about  normal.  Now  as  a final  experiment  move  the 
subject  up  on  the  veranda,  just  far  enough  back  so  that  the  direct 
light  from  the  sky  cannot  be  utilized.  The  illumination  appears 


HOME  PORTRAITURE. 


47 


to  be  just  as  good  here  as  for  the  previous  exposure,  but  to  be  on 
the  safe  side  try  two  exposures,  one  of  1-10  second,  the  same  as  for 
your  last  outdoor  exposure,  and  one  of  1-2  second;  once  more  a 
surprise,  as  the  1-10  second  exposure  is  very  much  under  ex- 
posed, and  the  one-half  second  could  have  been  increased  to  one 
second  without  danger  of  much  overtiming. 

These  few  experiments  will  serve  fairly  well  as  a working 
basis  for  future  exposures,  but,  of  course,  during  the  shorter 
days  and  in  cloudy  weather,  the  exposure  will  have  to  be  pro- 
portionately  increased. 


A Picture  Where  Detail  in  the  Background  is  Permissible. 


In  the  somewhat  contrasty  light  usually  encountered,  err  on 
the  side  of  over  exposure,  as  this  not  only  affords  better  shadow 
detail,  but  the  consequent  tendency  to  flatness  overcomes  much 
of  the  contrast. 

Of  course,  in  photographing  small  children,  time  exposures  of 
any  appreciable  duration  are  out  of  the  question,  but  even  in  such 
cases,  risk  movement  rather  than  under  exposure. 

A portrait  should  be  not  only  a correct  likeness,  but  should 
present  the  subject  in  a pleasing  pose,  subduing  defects  and 
accentuating  the  strongest  characteristics. 

A portrait  to  be  pleasing  must  avoid  harsh  contrasts  and 
possess  full  gradation  from  highest  light  to  deepest  shadow,  con- 
sequently it  is  necessary  to  so  arrange  the  subject  and  light  as  to 
produce  this  effect. 

In  your  previous  experiments  you  acquired  a fairly  good 
knowledge  of  the  intensity  value  of  light,  so  experiment  a little 
in  regard  to  its  quality. 


48 


HOME  PORTRAITURE. 


Placing  your  subject  close  to  the  window,  with  the  light  full 
on  the  face,  all  parts  are  equally  illuminated,  and  with  conse- 
quently no  gradation.  Now  move  the  subject  back  a few  feet, 
the  light  immediately  softens,  and  you  obtain  a roundness  and 
modeling  far  more  pleasing. 

Turning  the  subject’s  head  partly  away  from  the  light  in- 
creases the  steps  in  gradation,  only  the  part  of  the  face  in  deepest 
shadow  appears  too  dark  and  without  detail. 


Illustrating  Arrangement  of  Kodak  and  Subject  for 
Full  Length  Portraiture— See  page  49. 


Illuminating  this  shadow  is  very  simple.  Take  a large  white 
towel,  and  hold  it  about  four  feet  away  from  the  shadow  side,  it 
lightens  up  a bit,  but  not  quite  enough  so  walk  slowly  toward 
the  subject  until  this  shadow  is  sufficiently  illuminated  to  bridge 
that  big  gap  in  gradation. 


HOME  PORTRAITURE. 


49 


All  you  have  to  do  now  is  to  pin  the  towel  to  the  back  of  a 
tall  chair  or  anything  else  handy  and  you  have  as  satisfactory  a 
reflector  as  one  could  wish. 

Before  attempting  any  actual  exposures  place  the  subject  in 
various  parts  of  the  room  and  carefully  study  the  effects  you 
can  produce. 

One  thing  to  remember  is  this, 
that  the  light  intensity  value  in- 
creases and  decreases  by  the  square 
of  the  distance  from  the  source 
of  the  light;  that  is  to  say,  if  the 
correct  exposure  two  feet  from 
the  window  is  three  seconds,  four 
feet  from  the  window  will  de- 
mand an  exposure  of  twelve  seconds 
to  secure  equal  density  in  the 
negative. 

Always  use  the  strongest  light 
that  you  can  consistently  for  the 
effect  you  desire  to  produce,  as 
prolonged  exposures  not  only  de- 
tract from  the  spontaneity  of  ex- 
pression and  pose,  but  make  your 
subject  uncomfortable  and  liable 
to  move. 

The  preceding  experiments  have 
had  to  do  only  with  the  technical 
side  of  portrait  making,  and  there- 
fore you  have  experimented  only 
with  the  recording  power  of  the 
light.  In  order  that  you  may  make 
your  pictures  artistic  you  must 
learn  how  to  control  and  direct  the  light  just  where  you  want  it  to 
produce  the  desired  effect. 

Controlling  the  light  is  a very  simple  matter,  and 

Light 

entails  no  extra  apparatus  beyond  a few  sheets  of 
Control:  paper  or  cloth,  and  a few  pins  or  thumb  tacks  for 

holding  them  in  position. 

It  is  generally  accepted  that  allowing  the  light  to  fall  on  the 
face  at  an  angle  of  forty-five  degrees  produces  the  most  natural 
effect,  and  you  can  easily  secure  this  illumination  by  simply 
blocking  up  the  lower  half  of  the  window. 

Other  methods  of  lighting  can  be  used,  and  some  most  charm- 
ing effects  can  be  produced  by  allowing  the  light  to  come  from 
other  angles. 

Now  with  the  lower  portion  of  the  window  curtained,  and  the 
reflector  placed  in  the  proper  position,  you  have  the  light  under 
good  control  for  bust  or  half  length  portraits,  but  suppose  you 
want  to  make  a full  length  portrait  with  the  subject  attired  in  dark 
costume;  in  this  case  you  have  got  either  to  move  your  subject 
further  back  from  the  window,  use  a semi-transparent  curtain  for 


50 


HOME  PORTRAITURE. 


blocking  the  lower  half  of  the  window,  or  use  a second  reflector 
to  reflect  the  light  upon  such  portions  of  the  subject  as  require  it. 

The  simplest  way  is,  of  course,  to  move  the  subject  back  from 
the  window  until  the  light  covers  the  figure  fully,  but  in  some 


Illustrating  Arrangement  of  Kodak  and  Subject  for 
Full  Length  Portraiture — See  page  51. 


cases  this  will  extend  the  duration  of  the  exposure  beyond  the 
practical  limit,  when  one  of  the  other  two  alternatives  must  be 
employed. 

Bleached  cheese  cloth  may  be  used  for  blocking  the  window 
when  it  is  necessary  to  admit  some  light  through  the  lower  portion 
of  the  window,  and  for  reflecting  light  up  from  the  floor  a sheet 
placed  on  a chair,  or  sometimes  just  spread  on  the  floor  will  do 
the  trick. 

In  portraiture  you  must  always  bear  in  mind  that  the  face  is 
the  most  important  element  in  your  picture,  and  consequently  you 


HOME  PORTRAITURE. 


51 


must  subordinate  all  other  parts;  this  is  a comparatively  easy  mat- 
ter when  the  subject  is  attired  in  dark  costume,  but  when  the 
clothing  is  white  or  nearly  so,  some  means  must  be  devised  for  sub- 
duing it  to  its  proper  key  without  loss  of  its  natural  softness  and 
brilliancy. 

Some  times  an  absolutely  opaque 
the  window  will  suffice,  bur  more 
often  it  will  stop  out  too  much 
light,  and  in  such  cases  you  can 
resort  to  the  very  simple  expedient 
of  using  a piece  of  yellow  cheese 
cloth  for  curtaining  off  the  lower 
portion  of  the  window,  employing 
one  or  more  thicknesses  as  the 
occasion  demands. 

When  the  costume  is  dark  the 
illumination  and  exposure  must  be 
sufficient  to  show  detail  in  the 
figure  and  texture  in  the  garment, 
and  with  white  or  light  costumes 
the  light  must  be  soft  enough  so 
as  not  to  render  chalky  whites 
without  detail. 

Correct  development  of  the  ex- 
posures will  do  much  in  accom- 
plishing these  results,  and  will  be 
explained  in  its  proper  place. 

A goodly  number  of  pages 
could  be  devoted  to  talks  on  plain 
lightings,  line  lightings,  the  so- 
called  “Rembrandt”  effects  and  a 
whole  lot  of  other  lighting  methods, 
that  in  the  end  would  only  serve  to 
confuse  you  and  put  you  further  away  from  the  making  of  good 
straight  portraits  than  you  were  making  before  you  commenced  to 
read. 

Nine  hundred  and  ninety-nine  children  out  of  every 

Posing:  thousand  are  naturally  graceful  and  will  pose  them- 

selves far  better  than  you  can — and  remember, 
don’t  be  in  a hurry,  and,  don’t  be  fussy.’ 

The  tactful  Kodaker  can  coax  his  little  subjects  into  the  proper 
place  for  the  exposure,  and  then  wait  till  the  proper  moment 
arrives. 

When  you  were  a youngster  didn’t  you  “just  hate”  to  have  any- 
one fussing  with  or  at  you,  pulling  down  your  skirts  or  straighten- 
ing your  necktie  or  slicking  back  your  hair  or  saying  “Don’t  do 
that  Jimmie”,  or  “Take  your  finger  out  of  your  mouth  Susie”?  Just 
remember  your  own  childish  likes  and  dislikes  when  picturing  the 
Kiddies. 

If  you  have  a pre-conceived  idea  for  a picture,  the  only  way 
you  can  carry  it  out  successfully  is  to  get  the  youngster  or 
youngsters  interested  in  it;  in  fact,  to  play  some  game  with  them 


curtain  for  the  lower  half  of 


Portrait  Obtained  by  Arrangement 
Shown  on  page  50. 


52 


HOME  PORTRAITURE. 


that  will  finally  work  them  into  the  arrangement  and  pose  you 
desire. 

Most  youngsters  when  told  to  do  any  particular  thing  have  a 
preadamite  desire  to  do  just  the  opposite. 

When  attempting  to  photograph  children  who  are  not  familiar 
with  the  Kodak  or  the  process,  place  your  Kodak  in  position  and 
then  go  about  doing  something  else  for  a little  while  until  they 
become  accustomed  to  its  presence,  even  allowing  them  to  handle 
the  Kodak  if  they  so  desire. 


Illustrating  Position  of  Kodak  and  Subject  for 
Ordinary  Window  Lighting — See  page:  53. 

Simple  costumes  photograph  best,  and  the  children  feel  more  at 
home  in  them. 

White  and  lighter  colors  are  specially  well  adapted  for  chil- 
dren’s costumes,  not  only  adding  to  the  youth  of  the  subjects,  but 
aiding  you  in  that  you  may  employ  a shorter  exposure. 

When  it  comes  to  the  grown  ups  a certain  amount  of  posing 
is  necessary,  though  as  you  become  accustomed  to  the  work  it 
may  be  minimized  by  so  arranging  the  seat  they  are  to  occupy, 
or  the  other  incidentals  of  your  picture,  that  they  will  invol- 
untarily assume  the  pose  desired. 

A successful  portrait  depends  upon  more  than  cor- 
Posing  Sug-  rect  lighting,  exposure  and  development.  Full 
gestions:  length  portraits  seem  to  express  more  of  the  in- 

dividuality of  the  subject;  but  the  more  of  your 
subject  you  include  in  your  picture  the  more  difficulties  you  will 


HOME  PORTRAITURE. 


53 


encounter.  You  will  find  in 
every  instance  that  there  is  one 
side  of  the  subject’s  face  that  will 
photograph  better  than  the  other, 
and  when  possible  determine  this 
point  before  placing  the  subject 
infront  of  the  Kodak. 

Whether  the  portrait  shall  be 
full  face,  three-quarter  or  profile 
will  be  determined  of  course  by 
which  view  point  shows  the  sub- 
ject to  the  best  advantage. 

With  persons  having  fairly 
regular  features  and  good  com- 
plexions it  frequently  happens 
that  good  portraits  can  be  ob- 
tained from  almost  any  angle, 
but  in  most  cases  it  is  necessary 
to  subdue  some  feature  or 
strongly  accentuate  some  others 
to  produce  the  best  effect. 

As  an  example  take  a young 
man  with  too  prominent  ears ; it 
is  obvious  in  this  case  that  the 
full  face  would  be  displeasing,  so 


Portrait  Obtained  by  Arrangement 
Shown  on  page  52. 


Illustrating  a Simple  Method  of  Using  Eastman  Flash  Sheets. 


54 


HOME  PORTRAITURE . 


turn  the  face  slowly  away  from  the  light  until  the  ear  nearest  the 
light  disappears  from  the  line  of  sight 

The  ear  on  the  shadow  side  is  of  course  subdued  by  the  shadow, 
and  if  still  too  prominent  you  can,  as  one  expedient,  have  your  sub* 

ject  rest  his  head  on  his  hand, 
placing  the  hand  just  forward 
of  the  ear,  or  the  shadow  can 
be  deepened  by  removing  the 
reflector  to  a greater  distance 
from  that  side  of  the  face. 

Sometimes  the  chin  is  a 
little  weak;  tilting  the  head 
slightly  upward  will  help,  or  the 
chin  can  be  rested  on  the  hand — 
a profile  of  course,  is  not  to  be 
considered. 

Double  chins  can  be  treated  in 
the  same  way. 

Now  take  a subject  with  a 
massive  lower  jaw;  place  him 
squarely  facing  the  Kodak  and 
you  will  note  that  the  head  out- 
line is  nearly  rectangular.  Re- 
quest him  to  turn  his  head  slowJy 
away  from  the  light,  and  stop  at 
the  point  where  the  head  outline 
presents  an  oval  form ; it  may 
also  be  necessary  to  tilt  the  head 
either  up  or  down  a trifle  to 
produce  the  most  satisfactory 
view.  When  the  subject  has  a 
very  thin  face  or  high  cheek  bones  the  light  should  be  so  directed 
upon  the  face  as  to  fall  just  below  the  point  of  the  cheek  bone; 
this  may  be  accomplished  by  lowering  the  shade,  blocking  the 
window  a little  or  moving  the  subject  a trifle  further  from  the 
light. 

We  quite  often  encounter  a subject  with  deep  set  eyes,  or  wish 
to  make  a picture  with  the  hat  shadowing  the  face.  In  such 
cases,  to  afford  sufficient  illumination  to  the  eyes,  turn  the  subject 
more  toward  the  light  or  use  a supplementary  reflector. 

Bald  heads  are  easy;  have  some  one  hold  a sheet  of  cardboard 
over  the  head  between  the  light  and  the  bright  spot,  just  out  of 
range  of  the  lens. 

Particular  attention  should  always  be  paid  to  the  eyes,  as  the 
entire  facial  expression  depends  so  much  upon  them.  Avoid 
double  catch  lights,  and  have  them  in  good  focus. 

When  eyeglasses  are  worn  be  very  particular  to  see  that  the 
glasses  do  not  show  a blur  from  reflected  light. 

If  the  glasses  do  show  a blur  move  the  head  slightly,  either 
way,  until  the  blur  vanishes. 

When  portraying  the  full  figure,  we  naturally  have  a few  more 
things  to  consider,  and  one  exceedingly  important  point,  and  that 
is  curves,  not  angles,  make  for  beauty  and  harmony. 


Portrait  Obtained  by  Arrangement 
on  page  53. 


HOME  PORTRAITURE. 


55 


Now  don’t  fuss  much  with  your  subjects.  If  the  figure  is  to 
be  seated  request  the  subject  to  be  seated,  and  usually  a quick  pat 
here  and  there  will  get  rid 
of  any  obstreperous  angles 
— and  if  you  do  not  suc- 
ceed thus  quickly  stop 
right  there,  and  invent 
some  excuse  to  have  the 
subject  stand  up  for  a 
moment,  and  then  again 
be  seated — it  doesn’t  take 
much  to  bore  even  the  most 
willing  subject  and  too 
much  fussing  will  destroy 
all  chances  for  success. 

Watch  the  hands  care- 
fully and  do  not  have  them 
too  far  forward  from  the 
body  or  they  will  then 
photograph  out  of  propor- 
tion with  the  face.  The 
hand  partially  closed 
usually  presents  a better 
appearance  than  when 
clenched  or  with  the  fingers 
extended. 

Remember  always  that 

the  face  is  the  most  impor-  A ^ Second  Exposure. 


A Second  Exposure. 


tant  part  of  your 
picture,  and  that 
all  lines  should 
lead  up  to  it,  and 
all  other  parts 
should  be  sub- 
ordinated. 

These  few  sug- 
gestions are  given 
that  you  may 
learn  to  avoid  the 
more  common 
errors  and  to 
realize  the  neces- 
sity for  studying 
your  subject  and 
knowing  what  you 
want  to  do  before 
you  make  the  ex- 
posure. 


56 


HOME  PORTRAITURE. 


Back- 

Grounds: 


An  illy 
chosen  back- 
ground will 
ruin  the  fin- 
est bit  of  portrait  work, 
so  it  is  most  important 
that  some  thought  be 
given  to  this  portion  of 
your  picture. 

For  bust  portraits  a 
perfectly  plain  ground  is 
in  good  taste,  utilizing 
the  wall  of  the  room 
when  covered  with  plain 
paper,  or  suspending 
some  plain  fabric  behind 
the  subject  when  the 
wall  covering  is  objec- 
tionable. 

For  full  figures  and 
groups  some  detail  in  the 
background  is  not  objec- 
tionable, but  in  any  case 
it  must  be  subdued,  and 
in  no  way  attract  the 
attention  from  the  por- 
trait part  of  your  picture. 

In  a good  many  of 
the  little  home  pictures 
detail  in  the  background 
and  accessories  is  per- 
missible, provided  it  is 
not  too  prominent. 

Take  for  instance  a 
group  around  the  piano ; 
lack  of  detail  in  the 
piano  would  be  foolish; 
or  if  you  were  making  a 
picture  of  the  kiddies 
playing  in  the  nursery, 
detail  in  the  wall  and  any 
furnishings  in  the  room 
would  be  in  harmony 
with  your  picture. 

Detail  is  all  right  so 
long  as  it  does  not  de- 
tract from  the  human 
interest  in  your  picture. 
The  trouble  with  most  of  us  is  that  we  become  so  much 
absorbed  in  the  portrait  part  of  the  picture  that  we  are  very 
prone  to  overlook  or  slight  the  other  parts,  and  as  the  back- 
ground really  forms  the  setting  for  our  picture  we  must  give 
it  equal  attention. 


A Dignified,  Yet  Thoroughly  Natural  Pose. 


HOME  PORTRAITURE. 


57 


Tank  development,  first,  last  and  all  the  time,  not 
Developing:  only  for  portraiture  but  for  every  sort  of  expo- 
sure, as  it  is  not  only  the  simplest  and  easiest 
method,  but  affords  the  best  possible  results. 

With  the  Kodak  Film  Tank  use  the  twenty  minute  powders  as 
this  seems  to  afford  just  the  right  printing  quality  for  portraiture. 
If,  however,  you  employ 
the  dark-room  method 
do  not  carry  your  de- 
velopment quite  as  far 
as  for  landscapes,  and 
especially  so  when  your 
subjects  are  gowned  in 
white,  as  too  long  de- 
velopment is  apt  to  clog 
up  the  whites  and  pre- 
vent the  correct  render- 
ing of  detail  in  the  print. 

O u t d o o r 
Out-Door  portraits 

Portraiture:  should  nev,er 
be  made 
where  the  full  light  of 
the  sun  falls.  Select  a 
spot  away  from  the  sun, 
but  one  where  the  direct 
light  from  the  sky  will 
fall  upon  your  subject. 

The  light  is  softest  be- 
fore ten  in  the  morning 
and  after  four  in  the 
afternoon. 

This  refers  to  the 
warmer  months  as  there 
wouldn’t  be  much  fun 
in  outdoor  portraits 
“when  the  winter  time 
comes  round”. 

A clump  of  shrub- 
bery makes  an  excellent 
background,  if  the  subject  is  placed  several  feet  in  front  of  it,  and 
the  lens  used  with  a large  opening. 

Reflectors  and  that  sort  of  thing  are  not  of  much  account  in 
this  class  of  work  nor  can  you  do  much  in  the  -way  of  fancy 
lightings,  but  you  can  produce  a goodly  amount  of  most  satis- 
factory work  with  comparatively  little  effort. 

It  is  a rule  among  painters  that  the  picture  must 
Spacing  and  fill  the  canvas ; in  other  words,  anything  that  is  not 
Trimming:  interest  or  detrimental  to  the  chief  object  in  the 

picture  must  not  be  included.  In  some  instances 
it  is  not  possible  to  place  the  subject  or  the  camera  so  as  to  in- 
clude only  what  is  wanted ; the  remedy  then  is  to  trim  your  print 
till  only  the  true  picture  remains. 


Baby’s  Interest  Held  by  Something 
Outside  the  Window. 


58 


HOME  PORTRAITURE. 


A few  suggestions  in  spacing  may  not  come  amiss : 

In  full  or  three  quarter  length  portraits,  a very  short  person 
may  be  made  to  appear  taller  by  spacing  the  picture  so  that  the 

head  comes  close  to 
the  top  of  the  print;  a 
low  chair  or  table  will 
also  serve  to  produce 
this  effect.  Persons  of 
unusually  large  size 
are  a bit  careful  as  to 
the  furniture  upon 
which  they  trust  their 
weight,  so  it  may  be 
unnecessary  to  suggest 
refraining  from  the 
use  of  small  or  frail 
furniture  when  posing 
such  subjects.  In  spac- 
ing pictures  of  children 
allow  a little  more 
space  at  the  top  than 
for  adults,  as  this  af- 
fords a better  impres- 
sion of  their  size. 

Some  very  good 
artists  claim  that  it  is 
permissible  to  cut  off 
part  of  the  head  or 
head  gear  in  the  pic- 
ture but  never  the 
feet  or  hands.  Usual- 
ly you  can  include  all 
these  important  parts  without  detriment  to  the  picture. 

Too  much  blank  space  around  your  subject  is  often  almost 
as  bad  as  too  much  detail,  and  some  small  object  such  as  a picture 
or  vase  can  be  introduced,  provided  it  is  so  placed  as  not  to  inter- 
fere with  the  rest  of  your  composition.  The  picture  on  page  44 
illustrates  this  point. 

The  more  you  study  the  art  of  filling  your  space  the  less 
trimming  you  will  have  to  do,  but  when  you  do  have  to  trim,  trim 
mercilessly. 

Just  as  many  good  photographs  have  been  spoiled 
Mounting:  by  bad  mounting  as  paintings  have  been  spoiled  by 

inappropriate  framing.  As  the  mount  forms  the 
setting  for  your  picture,  some  thought  must  be  given  to  its 
selection,  both  as  to  color,  shape  and  size. 

Fortunately  most  of  the  mount  manufacturers  have  given  a 
good  deal  of  time  and  thought  to  the  production  of  harmonious 
and  appropriate  mountings  for  all  classes  of  work,  so  the  dan- 
ger of  inappropriate  selection  is  largely  minimized. 

One  of  the  first  things  to  consider  is  color.  The  color  of  the 
mount  must  harmonize  with  the  tone  of  the  print.  Black  and 


Made  With  Aid  of  Kodak  Portrait  Attachment. 


HOME  POP  TRAITU  RE. 


59 


Made  with  3A  F.  P.  Kodak  with  Kodak  Portrait  Attachment. 


60 


HOME  PORTRAITURE. 


white  prints  should  not  be  mounted  on  brown  or  any  of  the 
warmer  shades;  select  rather  one  of  the  soft  grays,  black  or 
white.  Where  the  print  contains  very  strong  high  lights  a pure 
white  mount  may  be  used,  but  when  the  tones  are  subdued  use 
gray,  as  the  strong  white  degrades  the  higher  lights  of  your  soft 
print.  Black  mounts  may  be  used  with  prints  containing  deep 
shadows  for  the  same  reasons.  In  some  cases  a black  and  white 
print  may  be  mounted  on  green  with  harmonious  effect,  but  more 
often  this  color  produces  a jarring  sensation  especially  when  the 
green  is  very  strong.  With  warmer  toned  prints,  such  as  sepias, 
browns  and  dark  purples,  the  various  shades  of  brown,  green  and 
even  subdued  reds  may  be  used  to  advantage. 

Allow  good  wide  margins  on  your  mounts,  and  use  simple 
ones,  so  that  the  pictures  show  up  stronger  than  the  mount. 


The  Kodak 
Portrait 
Attachment: 


No  small  investment  will  afford  more  lasting  satis- 
faction than  the  one  of  fifty  cents  expended  for  a 
Kodak  Portrait  Attachment. 

The  Kodak  Portrait  Attachment  is  simply  an 
extra  lens  so  mounted  as  to  slip  over  the  front  of 
the  regular  Kodak  lens. 

With  this  little  attach- 
ment in  place  one  can  work 
close  to  the  subject,  and 
obtain  large  head  and 
shoulder  bust  portraits.  But 
this  is  by  no  means  the  ex- 
tent of  its  usefulness,  as  it 
can  be  used  for  photograph- 
ing small  animals,  flowers 
and  the  like,  obtaining  much 
larger  images  than  are  pos- 
sible without  its  use. 

The  illustrations  on  this 
pages  60  and  61  most 
clearly  demonstrate  its  use- 
fulness in  portraiture. 

Now  let  us 
Some  of  call  your  at- 
the  Pictures  t e n t i o n 
to  some  of 
the  illustrations  that  help 
to  bring  out  the  points  in 
the  text. 

The  four  sets  of  pic- 
tures showing  the  Kodaker 
at  work,  and  the  results  of 
his  exposures,  are  of  more 
than  ordinary  interest  as 
they  tell  their  story  so  very 
much  better  than  it  can  be 

told  with  words.  And,  as  Made  with  Kodak  Focused  at  8 ft. 
you  study  these  pictures  Without  Portrait  Attachment. 


HOME  PORTRAITURE. 


61 


you  will  see  how  simple  they  all  are,  and  how  they  were  made 
under  conditions  that  can  be  duplicated  in  practically  every  home. 

The  pictures  on  pages  48,  49,  50,  51,  illustrate  a very  simple  and 
satisfactory  method  for  making  a full  length  portrait.  You  will 
notice  the  entire  absence  of  screens  or  reflectors.  At  first  glance  the 

Kodak  would  seem  to  be 
pointed  directly  against  the 
light,  but  the  patches  of 
sunlight  on  the  floor  show 
that  the  lens  is  working 
diagonally  across  the  light. 
Your  attention  is  called  to 
the  clever  way  in  which 

the  glass  door  has  been 

used  to  reflect  the  light 

against  the  shadow  side  of 
the  face,  and  how  the 

clump  of  trees  outside  has 
been  utilized  to  form  the 
background.  The  set  on 
pages  52  and  53  most  sat- 
isfactorily demonstrates  the 
possibilities  of  the  ordinary 
window  lighting,  without 
the  aid  of  accessories. 

A simple  and  very  satis- 
factory method  of  utilizing 
the  Eastman  Flash  Sheets 
for  flashlight  portraiture, 
is  shown  on  pages  53  and  54.  The  position  of  subject,  Kodak 
and  flash  is  so  clearly  indicated  that  comment  is  unnecessary. 

The  pictures  on  pages  45  and  57  show  a simple  method  for 
producing  the  full  illumination  demanded  for  very  short  ex- 
posures by  working  close  to,  and  almost  against  the  light. 

When  the  picture  on  page  57  was  made  the  attention  of  the 
baby  was  held  by  having  one  of  the  other  youngsters  go  outside 
and  throw  snow  balls  against  the  side  of  the  house.  Usually 
some  little  stunt  like  this  will  save  the  day  when  the  orthodox 
methods  fail. 

The  pictures  on  pages  58-59  demonstrate  the  wonderful  possibil- 
ities of  the  little  Kodak  Portrait  Attachment,  when  used  by  the 
light  of  an  ordinary  window,  by  following  the  simple  methods 
outlined. 

The  illustrations  on  page  55  are  just  little  outdoor  pictures — 
yes,  just  “snap-shots”,  but  they  possess  a naturalness  that  makes 
Daddy,  away  from  home,  mighty  glad  to  pull  them  out  and  look 
them  over,  pretty  often. 

None  of  the  illustrations  lay  claim  to  being  masterpieces, 
they  were  all  made  under  ordinary  light  conditions,  all  made  with  a 
Kodak  and  on  Eastman  N.  C.  Film,  except  as  stated,  and  any  one 
of  you  can  produce  equally  successful  results  by  following  the 
instructions  in  your  Kodak  manual,  and  the  few  additional  point- 
ers here  offered. 


62 


HOME  PORTRAITURE 


A Simple  Window  Lighting. 


FLASH  LIGHT  PORTRAITURE . 


63 


Flash  Light  Portraiture. 


The  flashlight  has  done 
much  to  broaden  the 
sphere  of  the  amateur 
photographer.  It  has 
made  him  absolutely  in- 
dependent of  daylight  for 
the  making  of  portraits 
and  other  indoor  pictures, 
and  has  even  made  pos- 
sible the  taking  of  certain 
classes  of  outdoor  pic- 
tures at  night. 

As  the  amateur  has 
comprehended  the  artis- 
tic possibilities  of  flash- 
light for  illumination,  and 
how  simply  and  safely  all 
lightings  may  be  obtained, 
he  has  in  some  instances 
practically  abandoned 
daylight  for  portrait  mak- 
ing. 

In  this  chapter  we 
will  confine  ourselves  to 
the  use  of  the  Eastman 
Flash  Sheets  and  the 
Eastman  Spreader  Flash 
Cartridges,  as  these  af- 
ford the  simplest  means 
for  amateur  flashlight  il- 
lumination. 


o 

SUBJECT 

a 

FLASH 

CAMERA 

X 

One  Eastman  Spreader  Flash  Cartridge. 
7 feet  from  subject. 

7 feet  from  floor. 

Medium  dark  walls. 

Subject  6 feet  from  camera. 


64 


FLASH  LIGHT  PORTRAITURE 


U 


I 5*7  HASH  SHEET 


SUBJECTO 


/X 

*■?'*  5VaA5H  SHEET 

Vable  lamp 


0 


X i 0F5*7flASH5HEEr 


CAMERA 


Three  flashes,  total  exposure  three  seconds. 

One  No.  3 Eastman  Flash  Sheet  in  fire 
place. 

One-half  No.  3 Eastman  Flash  Sheet  just 
above  and  to  right  of  reading  lamp. 

One-third  No.  3 Eastman  Flash  Sheet  di- 
rectly back  of  subject  two  feet  from 
floor. 

Dark  walls. 

Subjft  t 8 feet  from  camera. 


FLASH  LIGHT  PORTRAITURE. 


65 


A flashlight  is  the  illumination  secured  by  the  igni- 
What  a tion  and  combustion  of  certain  chemical  compounds, 
Flashlight  Is:  or  by  the  passing  of  pure  magnesium  through  a 
flame.  The  illumination  thus  afforded  is  of  power- 
ful actinic  quality,  and  of  extremely  brief  duration,  and  unless 
handled  understandingly  is  apt  to  produce  too  great  contrasts  in 
lighting  to  be  satisfactory  to  artistic  tastes.  It  is,  however,  a 
very  simple  matter  to  place  and  control  your  flashlight,  so  as  to 
make  it  much  more  certain  than  daylight  and  to  yield  exactly 
the  proper  degrees  of  contrast  or  softness. 


One  Eastman  Spreader  Flash  Cartridge. 
7 feet  from  subjects,  3 feet  from  floor. 
White  cotton  cloth  reflector. 

Medium  dark  walls. 

Subjects  8 feet  from  camera. 


For  work  in  the  open,  or  well  lighted  interiors, 
daylight  is  of  course  highly  satisfactory,  as  we  are 
accustomed  to  its  strength,  and  can  in  a sufficiently 
accurate  manner  determine  the  proper  time  of  ex- 
posure. On  the  other  hand,  and  particularly  in  the 
making  of  portraits,  the  amateur  is  usually  confined  to  the  use  of 


Flashlight 

and 

Daylight: 


O O 

SUBJECTS 


0 


x 

flash 


66 


FLASH  LIGHT  PORTRAITURE. 


rooms  improperly  or  insufficiently  illuminated  for  his  purpose. 
With  daylight,  even  though  he  possesses  unusual  ability  in 

arranging  and  controlling 
his  light,  he  is  often  han- 
dicapped by  being  unable 
to  direct  his  light  to  just 
the  proper  point  or  to 
obtain  it  in  sufficient  vol- 
ume just  when  he  needs 
it.  With  the  proper  flash- 
light, the  amateur,  after 
but  a few  experiments,  is 
dealing  with  an  absolute- 
ly known  quantity.  He 
knows  to  a certainty  just 
how  much  illumination 
each  flash  sheet  or  each 
flash  cartridge  will  pro- 
vide, and  that  he  may  di- 
rect his  light  to  fall  ab- 
solutely in  the  desired 
place,  as  he  may  place  his 
flash  so  that  the  rays  of 
light  will  proceed  in  any 
direction. 


One  Eastman  Spreader  Flash  Cartridge. 

6 feet  from  subject. 

2 feet  higher  than  subject’s  head. 

White  oilcloth  reflector  behind  subject. 
Cheesecloth  screen  between  flash  and  sub- 
j ect. 

Dark  walls. 

Subject  6 feet  from  camera. 


In  making  a portrait  with  the  aid  of  a flashlight,  we  must 
remember  that  we  are  attempting  to  counterpart  the  action  of 
daylight,  and  consequently  the  same  rules  that  apply  to  daylight 
portrait  making  will  be  necessary. 

As  heretofore  stated  a portrait  must  not  only  be  a good  like- 
ness, but  to  be  pleasing  must  in  addition  present  the  subject  in  the 
most  favorable  pose  and  lighting  without  undue  contrasts,  and  with 
good  gradation  between  the  highest  lights  and  deepest  shadows.  It 
may  be  accepted  that  the  most  pleasing  illumination  is  secured  by 
allowing  the  light  to  fall  on  the  features  at  an  angle  of  forty-five 
degrees,  though  exceptions  to  this  rule  may  be  made  as  hereinafter 
explained.  In  making  a portrait  by  daylight  you  could  not  ex- 


O 

SUBJECT 


X 

F LASH 

o 

CAMERA 


REFLECTOR 


FLASH  LIGHT  PORTRAITURE. 


67 


SUBJECTS  O 


WHITE 
CARO  BOARD 
REFLECTOR 

FLASH 

X 


OPAQUE  SCREEN 
TO  PROTECT  LENS 
FROM 


0 


CAMERA 


Eastman  Flash  Sheets. 

8 feet  from  subjects,  7 feet  from  floor. 
White  cotton  cloth  reflector. 

Flash  placed  in  angle  of  two  large  sheets  of 
cardboard  to  act  as  reflector  and  to 
shield  lens  from  flash. 

Medium  dark  walls. 

Subjects  25  feet  from  camera. 


68 


FLASH  LIGHT  PORTRAITURE. 


pect  to  secure  good  results  by  placing  your  subject  and  camera 
in  any  position  regardless  of  the  light,  but  rather  would  have  to 
spend  some  time  in  placing  your  subject  and  in  arranging  the 
control  of  your  light  so  as  to  have  it  fall  in  the  proper  place. 
When  using  flashlight,  the  same  precautions  must  be  observed, 
only  your  task  will  be  easier,  as  you  may  always  be  sure  of  the 
requisite  amount  of  light  and  also  of  your  ability  to  control  it. 

The  essentials  of  flashlight  picture  making  are  few:  The 

Kodak  and  film,  a firm  and  easily  adjusted  support  for  the  camera 
during  exposure  (preferably  a tripod,  with  corks  on  the  spikes 
on  the  legs  to  prevent  slipping,  or  an  R.  O.  C.  Tripod  Truck 
specially  designed  for  this  purpose),  a package  of  Eastman  Flash 
Sheets  or  Eastman  Spreader  Flash  Cartridges,  according  to  the 
work  in  hand,  a screen  or  filter  for  diffusing  the  light  and  a 
simple  reflector  for  softening  shadows.  Where  the  flash  is  at  a 
considerable  distance  from  the  subject,  a reflector  behind  the  light 
may  be  used  advantageously  to  increase  the  volume  of  light,  in- 
stead of  a screen  before  it  to  diffuse  the  light. 

For  all  ordinary  work,  in  rooms  of  average  size,  we  recom- 
mend the  Eastman  Flash  Sheets  and  Eastman  Flash  Sheet  Holder. 
The  sheets  are  exceedingly  simple  to  handle,  and  requiring  about 
one  second  to  consume,  afford  a broad  soft  light.  In  photograph- 
ing children,  or  any  subject  apt  to  move  during  the  exposure,  we 
advise  the  use  of  the  Eastman  Spreader  Flash  Cartridges,  as 
they  are  instantaneous  and  afford  a brilliant,  powerful  light.  As 
some  subjects  are  apt  to  become  nervous  during  your  preparations 
for  the  exposure,  do  not  neglect  to  reas- 
sure them,  and  avoid  all  appearance  of 
nervousness  yourself,  proceeding  calmly 
and  slowly  with  each  operation.  When 
using  daylight  for  illumination,  the  sub- 
ject must  be  placed  with  regard  to  the  win- 
dow opening,  but  with  flashlight  the  subject 
may  be  placed  anywhere  in  the  room,  as 
most  convenient,  and  with  the  camera  at 
the  proper  distance,  the  flash  may  be  placed 
in  any  position  necessary  to  produce  the 
desired  lighting. 

A convenient  method  of  using  the  East- 
man Flash  Sheets  is  to  provide  a strip  of 
wood  about  eight  feet  long  and  about  the 
thickness  of  an  ordinary  lath;  this  strip 
may  be  tied  to  the  back  of  a chair,  in  an 
upright  position,  as  it  then  can  be  easily 
moved  to  any  point  in  the  room.  But  the 
safest  and  simplest  way  of  using  flash 
sheets  is  by  means  of  the  Eastman  Flash 
Sheet  Holder,  which  takes  care  of  every 
contingency. 

It  may  be  safely  held  in  the  hand,  always  between  you  and 
the  flash  sheet.  Or  the  handle  may  be  unscrewed  and  the  holder 


FLASH  LIGHT  PORTRAITURE. 


69 


Eastman  Flash  Sheets. 

5 feet  from  subject. 

10  feet  from  floor. 

White  cotton  cloth  reflector. 

Lens  shielded  by  sheet  of  cardboard  dur  • 
ing  exposure. 

Medium  colored  walls. 

Made  with  Kodak  Portrait  attachment. 
Stop  U.  S.  8. 

Subject  2>y2  feet  from  camera. 


X 

FLASH 


° Ac 

SUBJECT  /O 
A/ 

/ 


CAMERA 


70 


FLASH  LIGHT  PORTRAITURE 


attached  to  any  ordiinary  tri- 
pod being  provided  with  a 
socket  for  that  purpose. 

The  flash  sheet  is  held 
securely  in  place  by  the  spring 
finger  shown  in  illustration, 
in  such  manner  that  the  bot- 
tom corner  of  the  sheet  lies 
across  the  opening  in  the 
back  of  pan. 

Then  to  set  off  the  flash, 
merely  touch  a match  from 
behind,  through  this  opening, 
to  the  corner  of  the  sheet. 

It  is  obvious  that  with  this 
holder  the  flash  can  be  held 
in  any  position  or  at  any 
height  in  the  room  and  it  is 
a very  great  convenience. 

Furthermore,  the  white  fire- 
proof lining  of  the  Eastman 
Flash  Sheet  Holder  acts  as  a 
reflector  and  will  increase  the 
strength  of  the  light. 

Never  place  more  than  one  sheet  in  the  Eastman  Flash  Sheet 
Holder  at  a time.  If  two  or  more  were  used,  one  would  be 
liable  to  blow  off  and  drop  on,  the  floor  while  still  burning. 

When  using  flashlight  cartridges,  handle  them  with  care,  and 
according  to  directions,  as  the  contents  are  by  their  very  nature 
highly  inflammable.  A convenient  method  of  using  the  Eastman 
Spreader  Flash  Cartridge  in  connection  with  the 
Spreader  Pistol  is  to  take  a strip  of  wood  about  eight 
feet  long,  and  fasten  the  pistol  to  one  end  with  nails 
or  screws.  Then  by  attaching  a short  piece  of  picture 
wire  to  the  trigger  of  the  pistol,  and  letting  it  run 
down  the  side  of  the  stick  to  the  other  end,  you  have 
an  exceedingly  simple  and  handy  flash  machine.  With 
this  device  the  operator  may  remain  near  the  camera 
and  watch  the  subject  from  the  same  point  of  view 
as  the  lens,  and  at  the  proper  moment  place  the  light 
just  where  he  wants  it.  Before  attempting  this  method, 
be  sure  that  no  lace  curtains  or  other  inflammable 
materials  are  apt  to  come  within  reach  of  the  flame,  as 
the  light  spreads  out  from  the  cartridge  quite  a dis- 
tance. In  addition  to  the  light,  another  most  impor- 
tant requisite  for  doing  good  flashlight  work  is  a plate 
or  film  which  is  rapid,  orthochromatic  and  non-hala- 
tion. Do  not  attempt  to  make  a flashlight  portrait  on 
any  plate  not  possessing  these  qualities,  and  as  they 
are  all  combined  in  Eastman  N.  C.  Film,  we  have  here 
the  ideal  medium  for  this  work. 


FLASH  LIGHT  PORTRAITURE 


71 


acRKN  o* 

Q QCHEE5E  ClCJTH  FOR 

SUBJECTS  °,fFUSFu 


L 


x 

FLASH 


OPAQUE  SCREEN 
TO  PROTECT  LENS 
FROM  FLASH 


CAMERA 


Eastman  Flash  Sheets. 

5 feet  from  subjects,  6 feet  from  floor. 
White  cotton  cloth  reflector. 

Cheesecloth  screen  between  flash  and  sub- 
j ects. 

Medium  dark  walls. 

Subjects  10  feet  from  camera. 


72 


FLASH  LIGHT  PORTRAITURE. 


Now  as  to  the  actual  work.  We  will  assume  that  it  is  even- 
ing, but  suggest,  if  day  time  be  selected,  that  you  do  not  have 
too  much  daylight  in  the  room.  Pull  down  the  window  shades 
and  turn  on  the  lights,  as  if  it  were  evening.  When  making  the 
exposure  do  not  turn  down  the  lights,  but  leave  them  burning 
brightly.  The  light  will  do  no  harm,  and  will  prevent  the  dila- 
tion of  the  pupils  of  the  eyes  of  the  subject,  and  avoid  the  stare 
so  often  in  evidence  in  flashlight  pictures.  The  color  of  the  walls 
and  ceiling  and  the  size  of  the  room  will  have  much  to  do  with 
the  result.  Select,  if  possible,  a room  of  medium  size,  with  light 
colored  walls  and  ceiling;  this  will  afford  a general  diffusion  of 
the  light  and  aid  greatly  in  softening  the  effect.  The  first  thing 
to  be  considered  is  the  size  of  the  flash  sheet  to  be  used  and  its 
position. 

The  Eastman  Flash  Sheets  are  made  in  three  sizes,  3x4,  4x5, 
and  5x7  inches,  and  numbered  one,  two  and  three,  according  to 
size.  The  proper  size  of  the  sheet  to  use  will  be  determined  by 
the  complexion  of  the  subject,  the  color  of  the  room,  and  the 
distance  of  the  light  from  the  subject.  For  example,  if  the  sub- 
ject is  of  fair  complexion,  with  light  hair  and  white  dress,  and 
if  the  room  is  of  medium  size  and  light  walls  and  hangings,  a No. 
1 Flash  Sheet  would  be  sufficient,  placed  at  a distance  of  about 
six  feet.  For  medium  complexions  use  a No.  2 sheet,  and  for 
very  dark,  a No.  3,  or  put  the  No.  2 sheet  a little  closer  to  the 
subject.  The  further  the  subject  is  from  the  light,  the  softer 
the  effect.  Strong,  bold  lightings  are  obtained  by  placing  the  light 
close  to  the  subject. 

As  a basis  to  work  from;  six  feet  is  about  the  proper  distance 
for  the  best  result  in  average  cases.  At  a distance  of  eight  feet, 
to  secure  full  illumination  use  a No.  3 Flash  Sheet,  and  for  any 
distance  less  than  six  feet  a No.  1 Flash  Sheet  will  afford  sufficient 
light  under  average  conditions.  The  light  may  be  placed  any- 
where except  within  immediate  range  of  the  lens,  but  its  exact 
position  will  depend  upon  the  style  of  lighting  desired  and  the 
individual  characteristics  of  the  subject.  An  idea  prevails  among 
beginners  that  the  light  should  never  be  placed  anywhere  except 
behind  the  camera,  as  it  might  cause  a reflection  of  light  into  the 
lens,  but  the  light  may  be  placed  anywhere  except  inside  the 
limits  of  the  picture  without  trouble  from  reflections.  In  some 
instances  an  opaque  screen  may  have  to  be  used,  to  cut  off  such 
rays  of  light  as  would  reflect  into  the  lens,  but  these  cases  are 
so  obvious  as  not  to  demand  further  explanation.  A common 
error  among  beginners  is  that  they  do  not  place  the  light  high 
enough.  If  the  light  is  placed  six  feet  distant  from  the  subject, 
it  should  also  be  placed  about  three  feet  higher  than  the  head  of 
the  subject,  in  order  to  afford  correct  modeling  of  the  features, 
and  the  desired  softness.  There  are  exceptions  to  this  rule,  as  in 
the  case  of  a subject  with  deep  set  eyes  and  heavy  eyebrows,  or 
a subject  with  a large  hat,  when  it  is  desired  that  the  hat  should 
not  cast  a shadow  on  the  face.  In  such  cases  the  light  should  be 
lower.  A reflector  and  screen  are  important  aids  in  obtaining 
artistic  results.  It  is  obvious  that  unless  some  means  are  pro- 


FLASH  LIGHT  PORTRAITURE. 


73 


vided  to  equalize  the  lighting  on  the  sides  of  the  face,  the  con- 
trast will  be  too  strong,  and  the  “chalk  and  soot  effects”  will  be 
much  in  evidence.  The  reflector  for  softening  contrasts  is  a simple 
proposition.  For  a bust  portrait,  with  the  subject  seated,  a white 
towel  fastened  over  the  back  of  a high  backed  chair  will  serve 
the  purpose;  do  not  place  the  reflector  too  low,  as  the  reflected 
light  coming  up  from  below  will  be  apt  to  flatten  the  shadow  side 
of  the  face.  The  reflector  should  also  be  placed  a little  forward 
of  the  sitter,  as  this  affords  better  half  tones  between  the  highest 
lights  and  shadows,  and  also  serves  to  prevent  any  stray  rays  of 
light  from  reflecting  into  the  lens.  With  standing  figures,  a small 
sheet  or  any  light  colored  material  (except  yellow  or  red)  may 
be  hung  over  a string  or  tape  fastened  across  any  part  of  the 
room,  with  thumb  tacks,  so  that  it  occupies  the  desired  position. 
The  light  screen  or  filter  can  be  similarly  arranged  on  another 
tape.  This  screen  should  be  of  white  cheesecloth,  and  at  least  a 
yard  square.  A convenient  method  is  to  tack  the  cloth  to  a light 
wooden  frame,  about  a yard  square.  If  a tripod  socket  be  inserted 
in  one  side  of  the  frame,  an  extra  tripod  may  be  utilized  to  hold 
the  screen  in  any  desired  position. 

The  diagram  below  illustrates  one  of  the  many  ways  in 
which  the  reflector  and  light  screen  or  filter  may  be  used. 

Many  houses  have  arches  or  folding  doors  between  the  rooms, 
with  portieres  which  may  be  utilized  for  a background,  attaching 
one  end  of  the  re- 
flector and  screen 
by  strings  or  tapes 
to  each  end  of  the 
curtain  pole,  and 
tying  the  other 
ends  to  the  chan- 
delier, usually 
found  above  the 
center  of  the 
room.  Every  room 
has  a number  of 
door  or  window 
casings,  to  the  side 
of  which  a pin  or  tack  may  be  driven  without  damage,  and  these 
afford  sufficient  opportunity  for  varying  the  arrangement  shown 
in  the  diagram,  to  obtain  exactly  the  lighting  desired. 

Let  us  now  arrange  our  subject  for  an  exposure,  taking  for 
example  a lighting  and  pose  similar  to  the  one  on  page  69.  If  you 
are  using  a flash  sheet  without  the  Eastman  Flash  Sheet  holder, 
you  should  ignite  the  flash  sheet  by  means  of  a match  fastened 
in  a split  stick,  at  least  two  feet  long,  or,  better  still,  with  one  of 
the  long  handled  gas  lighters  provided  with  a wax  taper.  All 
being  in  readiness,  open  the  shutter  and  quickly  light  the  flash 
sheet ; as  soon  as  it  is  consumed,  close  the  shutter.  Do  not  hurry, 
as  the  illumination  afforded  by  the  gas  flame  will  not  make  any 
impression  on  your  film  in  the  short  time  necessary  to  close  the 
shutter  after  the  exposure  has  been  made. 


74 


FLASH  LIGHT  PORTRAITURE . 


Tank  Development  affords  the  ideal  method  for  development 
of  flashlight  exposures,  as  it  not  only  brings  out  everything  the 
exposure  is  capable  of  yielding,  but  the  negatives  will  have  just 
the  right  quality  for  portraiture. 

The  R.  O.  C.  Tripod  Truck  is 
a most  convenient  accessory  for 
flashlight  and  other  work,  where 
a tripod  is  employed  indoors. 

Placed  on  this,  the  tripod  legs 
are  held  firmly  in  position  by  quick 
acting  spring  catches,  and  of 
course  there  is  no  possibility  of 
slipping  or  the  tripod  spikes  mar- 
ring floor  or  carpet.. 

The  truck  is  fitted  with  castors, 
making  it  a very  simple  matter 
to  move  the  camera  about  the  room 
to  any  position. 

Folds  compactly  when  not  in 
use  and  is  perfectly  solid  when  extended. 

SUMMARY 

The  following  summary  of  conditions  necessary  for  successful 
results  must  be  given  careful  consideration. 


1.  Correct 
Lighting: 


a — Position  of  light, 
b — Proper  diffusion  of  light  by  screen, 
c — Distance  of  light  from  subject, 
d — Proper  placing  of  reflector. 


2.  Correct 
Exposure: 

3.  Correct 
Develop- 
ment: 


a — Size  of  flash, 
b — Size  and  color  of  room, 
c — Color  of  subject, 
d — Distance  of  light  from  subject. 

a — Suitable  developing  formula, 
b — Proper  strength  of  developer, 
c — Duration  of  development. 


The  illustrations  for  this  chapter  were  all  made  on  Eastman 
N.  C.  Film,  and  with  either  the  Eastman  Flash  Sheets  or  East- 
man Spreader  Flash  Cartridges. 

The  diagrams  accompanying  the  illustrations  fully  explain  just 
how  each  picture  was  made,  and  the  amateur  following  the 
simple  instructions  should  experience  no  difficulty  in  producing 
equally  successful  results. 

INTERIORS  BY  FLASHLIGHT. 


The  foregoing  chapter  thoroughly  covers  the  ground  of  Flash- 
light Portraiture  but  we  wish  to  follow  it  up  with  a few  re- 
marks upon  flashlight  work  in  a general  way.  Aside  from  the 
making  of  portraits  there  are  many  uses  for  the  flash. 


INTERIORS  BY  FLASHLIGHT. 


75 


Frequently  it  is  desired  to  take  a photograph  of  an  interior 
which,  by  reason  of  a lack  of  illumination,  or  because  some  win- 
dow, which  cannot  be  covered,  comes  within  range  of  the  camera, 
is  impracticable  by  daylight.  In  such  cases  a flash  light  solves 
the  problem.  Again,  it  is  desired  to  photograph  a very  large 
room  which  is  lighted  from  only  one  side  by  daylight.  To  get  a 
full  time  exposure  in  the  darkest  corner  of  the  room  would  cause 
a decided  over-exposure  near  the  windows.  A flash  light,  con- 
cealed from  direct  line  with  the  lens  by  some  article  of  furniture 
or  by  a screen,  illuminates  the  dark  corner  and  gives  a properly 
lighted  exposure  of  the  entire  room. 

These  are  the  ordinary  uses  of  the  flash  light,  and  by  follow- 
ing the  simple  rules  laid  down,  the  amateur  can  make  pictures 
wdth  as  great  an  assurance  of  success  as  when  making  snap-shots 
out  of  doors.  For  the  production  of  unusual  effects,  however, 
one  must  study  all  the  conditions,  weighing  carefully  cause  and 
effect,  and  must  not  yield  to  disappointment  if  success  be  not  ob- 
tained at  first. 

There  are  many  ways  in  which  the  flash  may  be  made  to  co- 
operate with  other  artificial  light,  or  with  daylight,  to  produce  a 
unique  or  artistic  effect,  and  to  the  serious  worker  it  offers  an- 
other means  to  the  end  most  desired  by  all  photographic  workers, 
pictorial  effect. 

The  Eastman  Flash  Sheets  provide  a simple  and 

Flash  effect  ive  method  of  producing  the  flash.  Being  of 

Sheets:  great  actinic  power  they  impress  the  image  upon 

the  sensitive  surface  of  film  or  plate  quickly,  al- 
though the  flash  is  less  blinding  than  that  of  ordinary  powders. 

The  fact  that  flash  sheets  burn  slowly  as  compared  with  flash 
powder  makes  them  far  safer  to  use — the  danger  from  explosion 
by  careless  handling  being  reduced  to  a minimum. 

For  photographing  dark  corners  when  photographing  interiors 
by  daylight,  for  portraiture  and  small  groups,  the  Eastman  Flash 
Sheets  afford  an  ideal  means  of  illumination,  but  for  large  rooms, 
and  for  groups  of  ten  or  more  persons,  the  Eastman  No.  3 Flash 
Cartridges  should  be  employed  as  they  afford  a greater  amount  of 
light.  Except  for  extra  large  rooms  or  groups  the  No.  2 Car- 
tridge will  provide  sufficient  light  with  stop  16. 

In  straight  interior  work,  when  no  living  subjects  are  included, 
and  a number  of  flashes  can  be  made,  the  Eastman  Flash  Sheets 
may  be  used  according  to  the  following  table : 


TABLE. 


For  10 

feet 

distance 

and  light  walls 

and  hangings  use  1 Sheet. 

“ 10 

“ 

“ 

“ dark  “ 

“ 2 Sheets. 

“ 15 

it 

u 

“ light  “ 

a ((  u ^ << 

“ 15 

a 

a 

“ dark  “ 

“ " “ 3 “ 

“ 25 

a 

“ 

“ light  “ 

“ “ “ 3 “ 

“ 25 

(( 

“ dark  “ 

“ “ “ 4 “ 

The  above  table  is  for  No.  i Sheets.  Stop  U.  S.  8.  A smaller  number  of  the  larger 
sheets  may  be  used  if  preferred. 


76 


INTERIORS  BY  FLASHLIGHT. 


As  stated  on  page  70  two  or  more  flash  sheets  should  never 
be  superimposed  one  upon  the  other,  or  a number  of  sheets  be 
pinned  with  corners  over  lapping,  as  the  combustion  is  sufficiently 
rapid  to  afford  the  liability  of  a sheet  blowing  off  and  dropping 
on  the  flonr  while  burning. 

Arrange  the  chairs  in  the  form  of  a semi-circle,  fac- 
Groups:  ing  the  camera,  so  that  each  chair  will  be  exactly  the 

same  distance  from  the  camera.  Half  the  persons 
composing  the  group  should  be  seated  and  the  rest  should  stand 
behind  the  chairs.  In  case  any  of  the  subjects  are  seated  on  the 
floor  the  limbs  should  be  drawn  up  close  to  the  body,  not  extended 
towards  the  camera.  If  this  is  not  done  the  feet  will  appear  ab- 
normally large  in  the  picture. 

It  is  better  to  leave  the  room  lighted  in  the  regular  way  while 
making  the  flash.  Arrange  the  persons  composing  the  group  so 
that  no  one’s  face  will  be  shadowed  by  another’s  body  or  head. 
This  can  be  done  readily  by  looking  at  the  group  from  where 
the  flash  is  to  be  fired. 

Have  the  flash  light  high  enough  so  that  shadow  of  heads 
against  the  background  will  not  be  thrown  up  higher  than  the 
head. 

In  taking  large  groups  it  is  necessary  to  have  the 
Taking  camera  a considerable  distance  away.  In  such  a 

Large  case,  to  light  the  group  sufficiently  with  the  flash 
Groups:  behind  the  camera,  a strong  flash  would  be  neces- 

sary. 

This  may  be  obviated  in  cases  where  the  camera  can  be  placed 
in  an  adjoining  room,  where  there  are  double  parlors,  for  instance. 
Then  set  off  the  flash  in  the  room  where  the  group  is,  it  being 
shielded  from  the  lens  by  the  projecting  partition.  This  gets  the 
light  close  to  the  subject.  In  this  way  a much  weaker  flash  would 
suffice. 

In  making  single  portraits  or  groups,  care  should 
Background:  be  taken  to  have  a suitable  background  against 
which  the  figures  will  show  in  relief.  A light  back- 
ground is  better  than  a dark  one,  and  often  a single  figure  or  two 
will  show  up  well  against  a lace  curtain.  For  larger  groups  a 
medium  light  wall  will  be  suitable. 

The  finder  on  the  camera  will  help  the  operator  compose  the 
group  so  as  to  get  the  best  effect.  In  order  to  make  the  image 
visible  in  the  finder,  the  room  must  be  well  lighted  with  ordinary 
lamplight,  which  may  be  left  on  while  the  picture  is  being  made, 
provided  none  of  the  lights  are  so  placed  that  they  show  in  the 
finder. 

In  portrait  work  it  is  always  best  to  have  the  room 
In  General:  well  lighted  when  making  the  flash,  if  it  can  be  done 

in  such  a way  that  none  of  the  lights  come  within 
range  of  the  lens.  If  the  room  is  darkened  the  sudden  flash  of 
the  light  so  strains  the  eyes  of  the  sitters  that  it  almost  invariably 
gives  them  a staring  look,  whereas  if  the  room  is  already  well 


INTERIORS  BY  FLASHLIGHT . 


77 


illuminated  by  gas  or  lamp-light  the  strain  is  not  great  and 
the  eyes  will  have  a natural  expression.  Of  course  when  the 
room  is  brightly  lighted  the  shutter  should  not  be  opened  until 
the  instant  before  the  flash  is  made,  and  should  be  closed  quickly 
after  the  flash  is  over. 

In  making  portraits  by  flash  light,  the  camera  should  not  be 
held  in  the  hand,  but  should  be  supported  as  described  on  page 
68.  Before  setting  off  the  flash  see  that  no  articles  of  furniture  in 
range  of  the  lens  are  closer  to  the  camera  than  the  persons  to 
be  photographed.  The  nearer  an  object  is  to  the  lens,  of  course, 
the  larger  the  picture.  A chair  placed  too  near  the  camera  might 
appear  in  the  picture  bigger  than  everything  else  visible. 

Flash  light  work  is  usually  regarded  as  of  minor  importance 
compared  with  daytime  photography,  which  may  be  explained  by 
the  fact  that  most  people  have  not  made  themselves  familiar  with 
it.  As  a matter  of  fact  it  well  repays  considerable  time  and  study, 
in  view  of  the  results  that  are  possible.  Some  professional  photog- 
raphers now  are  using  the  flash  light  extensively  in  their  regular 
portrait  work. 

When  more  than  one  flash  light  is  to  be  taken,  the  windows 
should  be  opened  and  time  allowed  between  each  flash  to  free 
the  room  thoroughly  from  smoke,  otherwise  all  of  the  pictures 
after  the  first  one  are  liable  to  have  a “foggy”  effect.  The  East- 
man Flash  Sheets  give  a minimum  of  smoke,  but  the  lens  is  even 
keener  than  the  eye,  and  what  will  seem  to  be  but  little  smoke  in  a 
room  will  often  times  have  a decided  effect  upon  the  picture. 

When,  for  any  reason,  it  is  necessary  that  the  shutter  remain 
closed  until  the  instant  the  flash  is  discharged  and  be  closed  again 
instantly  afterward,  it  is  well  to  have  the  flash  sheet  hanging  near 
so  that  the  shutter  can  be  operated  with  one  hand  and  the  flash 
with  the  other  and  their  action  thus  made  simultaneous. 

In  using  the  flash  sheets  it  should  be  borne  in  mind  that  they 
are  not  instantaneous,  and  in  portrait  work  the  subjects,  should, 
therefore,  be  warned  to  remain  still  as  if  for  a time  exposure. 

The  flash  sheets  do  not  produce  a sudden  flash  when  they  are 
lighted,  and  a second  or  so  is  consumed  in  burning  a single  sheet. 
As  compared  with  the  ordinary  flash  powder  they  give  a much 
broader  source  of  light,  which  means  that  they  do  away  with  the 
harsh  shadows  that  are  so  objectionable  in  most  flashlight  work. 
The  flash  from  the  sheets  is  far  less  blinding  than  that  from  the 
ordinary  powder,  a decided  advantage  in  giving  pictures  without 
the  staring  effect  to  the  eyes  so  often  seen, 


78 


INTERIORS  BY  FLASHLIGHT . 


The 

Reflector: 


In  the  va- 
rious articles 
upon  Por- 
traiture is  ex- 
plained the  use  of  the  re- 
flector. In  practice  it  is 
often  inconvenient  or  unde- 
sirable to  secure  an  assistant 
for  the  purpose  of  holding 
the  cloth  to  be  used  as  a re- 
flector. Fig.  I shows  a re- 
flector which  may  easily  be 
constructed  and  which  will 
be  found  very  convenient  in 
use.  Provide  two  pieces  of 
wood  about  one  inch  wide 
by  one-half  an  inch  thick, 
one  piece  being  about  two 
feet  and  the  other  two  feet 
six  inches  long.  In  one  end 
of  the  longer  piece  insert  a 
screw  eye  having  a head 
about  one  half  an  inch  in 
diameter.  Cut  an  opening  in 
the  center  of  the  second  strip  so  that  the  head  of  the  screw  eye 
will  fit  it  snugly.  A small  flat  hook  fastened  to  the  strip  com- 
pletes the  joint.  Procure  a piece  of  white  cotton  cloth  about  two 
feet  square  and  fasten  it  to  the  edge  of  the  short  strip  with  small 
tacks.  A large  elastic  rubber  band  completes  the  apparatus. 

For  use  fasten  the  two  strips  together  by  the  joint  and  fas- 
ten the  screen  by  the  aid  of  the  rubber  band  to  the  back  of  an 
ordinary  chair.  The  cloth  will  then  hang  straight  down  and  by 
moving  the  chair  about  and  changing  the  height  of  the  screen 
by  sliding  the  upright  piece  up  or  down  the  reflector  may  readily 
be  placed  in  any  desired  position. 


VELVET  VELOX  Kodak  Negative 

Double  Weight 


Development. 

The  amateur  has  the  choice  of  two  methods  of  development: 

Tank  Development 

Dark-Room  Development 

The  user  of  a roll  film  camera  is  particularly  fortunate  in  that 
he  may  make  use  of  the  Kodak  Film  Tank,  and  thus  perform  the 
entire  operation  of  development  in  full  daylight. 

The  Eastman  Plate  Tank  for  plates,  and  the  Premo  Film  Pack 
Tank  for  film  pack  films,  require  the  use  of  the  dark-room 
for  loading,  after  which  development  can  be  carried  on  in  full 
daylight. 

The  time  and  temperature  method  of  development — developing 
for  a definite  time,  with  a given  strength  of  developer,  and  at  a 
given  temperature — the  foundation  of  the  tank  system  of  de- 
velopment, has  long  since  passed  the  experimental  stage.  Tank 
development  is  no  longer  a mere  theory — it  is  a success. 

There  is  every  reason  for  the  adoption  of  this  simple  method 
for  the  development  of  film  or  plates.  First  and  foremost,  it  af- 
fords better  results  than  the  old  tentative  dark-room  method, 
even  in  the  hands  of  the  expert. 

The  tank  prevents  accidents,  such  as  light  fog  and  scratches; 

it  protects  the  novice  from  his  own  inexperience the  experience 

is  in  the  tank. 

Tank  development  takes  care  of  all  differences  of  exposure 
within  reasonable  limits.  Indeed,  it  has  now  been  fully  demon- 
strated that  normal  development,  such  as  the  tank  gives,  produces 
better  printing  negatives  than  does  the  old  method  of  endeavor- 
ing to  force  under-exposures  and  restrain  over-exposures.  Snap- 
shots and  time  exposures  go  into  the  tank  at  the  same  time  and 
come  out  together,  developed  to  their  full  values.  No  individual 
treatment  is  necessary. 

Tank  development  offers  better  convenience  and  comfort.  With 
cartridge  film  it  is  daylight  all  the  way,  and  with  plates  and 
Premo  Film  Pack,  the  dark-room  is  necessary  only  while  load- 
ing the  tank,  and  for  washing  before  fixing — operations  requiring 
but  a few  moments. 

Tank  development  is  the  most  economical  method  of  develop- 
ment— time  saving,  as  you  may  develop  a dozen  plates,  or  a full 
roll  of  film,  at  one  time;  film  and  plate  saving,  as  it  insures  the 
highest  percentage  of  good  printing  negatives ; space  saving,  as 
any  one  of  the  tanks  for  either  film  or  plates  will  occupy  but  a 
corner  of  an  ordinary  suit  case. 

The  fact  that  many  of  the  most  noted  professional  photograph- 
ers in  the  country  have  adopted  the  Eastman  Plate  Tank  for  their 
developing,  is  one  of  the  best  evidences  of  the  superiority  of  the 
tank  system.  To  these  men  the  convenience  of  tank  development 
is  a secondary  consideration.  What  their  business  depends  upon 
is  results,  and  they  find  by  actual  experience  that  tank  development 
produces  a better  quality  of  results  than  does  the  old  method. 


80 


DEVELOPMENT. 


The  dark-room  method  of  film  development  is  simple,  but  the 
amateur  has  naturally  to  depend  upon  his  own  judgment  as  to  the 
obtaining  of  proper  density  and  must  take  precautions  as  to  a safe 
light  to  work  by.  As  improvements  calling  for  slight  changes  in 
the  methods  of  manipulation  are  frequently  made  in  Kodak  ap- 
paratus, the  operator  of  a Kodak  Film  Tank  should  read  care- 
fully the  manual  accompanying  the  particular  tank  he  purchases. 

WITH  THE  KODAK  FILM  TANK. 

The  Kodak  Film 
Tank  consists  of  a 
wooden  box,  a light- 
proof apron,  a “Trans- 
ferring Reel”,  a metal 
“solution  cup”,  in  which 
the  film  is  developed, 
and  a hooked  rod  for 
removing  film  from 
solution.  There  is  also 
a dummy  film  cartridge 
with  which  one  should 
experiment  before  using 
an  exposed  cartridge. 
The  various  parts  of  the  outfit  come  packed  in  the  box  itself. 

1.  Take  everything  out  of  the  box.  Take  the 
Setting  up  apron  and  Transferring  Reel  out  of  solution  cup. 
the  2.  The  axles  marked  C and  D,  in  the  cut  are  to  be 

Film  Tank:  inserted  in  the  holes  in  the  front  of  the  box.  The 

front  will  be  toward  you  when  the  spool  carrier  in 
end  of  box  is  at  your  right.  These  axles  are  interchangeable. 


Fig.  1. 


Fig.  2. 


DEVELOPMENT . 


81 


The  axle  “C”  must  be  pushed  through  the  hollow  spindle  which 
will  be  found  loose  in  the  box.  This  spindle  has  a lug  at  each 
end  to  which  the  hooks  of  the  apron  are  to  be  attached. 

3.  The  axle  “D”  must  be  pushed  through  the  hollow  rod  of 
the  Transferring  Reel  to  hold  reel  in  position  as  indicated  in  the 
illustration.  The  flanges  at  each  end  of  the  Transferring  Reel 
are  marked  “Y”  in  the  illustration.  Both  axles  “C”  and  “D” 
must  be  pushed  clear  through  into  the  holes  on  the  opposite  side 
of  the  box. 

4.  Attach  one  end  of  the  apron  to  spindle,  through  which 
axle  “C”  passes,  by  means  of  the  metal  hooks  which  are  to  be 
engaged  with  the  lugs  on  the  spindle.  (Fig.  2).  The  corrugated 
side  of  the  rubber  bands  is  to  be  beneath  the  apron  when  it  is 
attached.  Turn  to  the  left  on  axle  “C”  and  wind  entire  apron 
on  to  axle,  maintaining  a slight  tension  on  apron,  in  so  doing, 
by  resting  one  hand  on  it. 


Fig.  3. 

5.  Insert  film  cartridge  in  spool  carrier  (Fig.  3),  and  close 
up  the  movable  arm  tight  against  end  of  spool.  Have  the  duplex 
paper  (“B”  in  Fig.  1)  lead  from  the  top. 

Film  to  be  used  in  the  Kodak  Film  Tank  must  be 

Important:  fastened  to  the  duplex  paper  at  both  ends.  All 

Kodak  films  are  fastened  at  one  end  in  the  factory. 
For  instructions  on  how  to  fasten  the  other  end  see  page  89. 

6.  Break  the  sticker  that  holds  down  the  end  of  duplex 

paper,  thread  the  paper  underneath  wire  guard  on  Transferring 

Reel — through  which  axle  “D”  passes  (Fig.  4),  and  turn  axle 
slowly  to  right  until  the  word  “stop”  appears  on  duplex  paper. 


82 


DEVELOPMENT. 


7.  Now  hook  apron  to  lugs  on  Transferring  Reel  (Fig.  5),  in 
precisely  the  same  manner  that  you  hooked  the  opposite  end  to 
lugs  on  the  spindle,  except  that  axle  “D”  turns  to  the  right. 


Fig.  4. 

8.  Turn  handle  half  a revolution  so  that  apron  becomes  firmly 
attached  and  put  on  cover  of  box.  Turn  axle  “D”  slowly  and 
steadily  until  duplex  paper,  film  and  apron  are  rolled  up  together 
on  Reel.  As  soon  as  this  is  completed  the  handle  will  turn  very 
freely. 


Fig.  6. 


9.  Prepare  developer  as  described  on  page  84. 

10.  Now  remove  cover  from  box  and  draw  out  axle  “D,5r  (Fig. 
6),  holding  apron  and  duplex  paper  with  other  hand  to  keep  end 
of  apron  from  loosening. 


DEVELOPMENT. 


83 


11.  Remove  entire  Transferring  Reel  (now  containing  apron, 
duplex  paper  and  film)  which  is  freed  by  pulling  out  axle  D,  and 
insert  immediately  in  the  previously  prepared  developer. 

In  removing  Reel  do  not  squeeze  the 
apron,  but  hold  it  loosely  or  slip  a rubber 
band  around  it  to  keep  from  unrolling. 

12.  Having  filled  Solution 
Using  the  Cup,  as  directed  on  page 

Solution:  84,  lower  Transferring 

Reel  into  Cup,  with  the  end  contain- 
ing crossbar  up.  (Fig.  7.)  Let  Reel  slide  down 
slowly.  The  operation  of  removing  reel  from  box 
can  be  done  in  the  light  of  an  ordinary  room,  but 
for  safety  it  is  well  that  the  light  should  not  be  too 
bright.  The  total  length  of  time  for  development 
is  20  minutes. 

NOTE.— Immediately  after  lowering  Reel  into  solution  cup, 
catch  it  with  wire  hook  and  move  slowly  up  and  down  two  or 
three  times,  taking  care,  however,  not  to  raise  any  part  of  Reel 
above  the  surface  of  solution.  This  is  to  expel  air  bubbles.  Fig.  7. 

Then  place  the  cover  on  the  cup 
(Fig.  8)  putting  lugs  on  cover  into 
the  grooves  and  tighten  cover  down  by 
turning  to  right. 

Now  turn  the  entire  cup  end  for  end, 
and  place  in  a tray  or  saucer  to  catch  any 
slight  leak  in  the  cup. 

At  the  end  of  three  minutes  again  reverse  the 
cup,  and,  thereafter  reverse  every  three  minutes 
until  the  time  of  development  (20  minutes)  has 
elapsed. 

Turning  the  solution  cup  in  this  manner  al- 
lows the  developer  to  act  evenly  and  adds  bril- 
liancy and  snap  to  the  negatives. 

The  wire  hook  is  to  be  used  for  lifting  the  reel  out  of  the 
cup.  Hook  on  to  the  cross  bar  in  one  end  of  reel.  (Fig.  9.) 


Fig.  8. 


84 


DE  VELOPMENT. 


direc 


14.  When  development  is  completed 
pour  out  developer  and  fill  cup  with  clear, 
cold  water  and  pour  off,  repeating  this 
operation  three  times  to  wash  the  film. 

Then  remove  Transferring  Reel;  separate 
film  from  duplex  paper  and  place  imme- 
diately in  the  Fixing  Bath,  which  should  be 
in  readiness,  prepared  in  accordance  with 
tions  on  page  86. 

The  film  may  be  separated  from  duplex  paper  in 
light  of  an  ordinary  room  if  the  developer  is  thor- 
oughly washed  out. 

The  operation  of  separating  film  and  duplex 
paper  should  be  done  over  a bowl,  bath  tub,  or  sink. 

When  the  duplex  paper  does  not  free  itself 
readily  from  back  of  film,  split  the  paper  where 
possible,  this  will  remove  the  hard  outer  surface  of 
the  paper,  the  remaining  portion  will  soon  become 
soaked  and  can  then  be  removed  easily  by  rubbing 
gently,  while  immersed,  with  the  ball  of  the  finger. 

This  adhering  of  the  duplex  paper  to  the  film  is 
almost  invariably  caused  by  the  use  of  too  warm  developer. 

After  developing  a roll  of  film  the  apron  must  be  wiped  dry 
before  developing  another  roll.  The  apron  will  dry  almost  in- 
stantly if  immersed  for  a moment  in  very  hot  water. 

Keep  apron  wound  on  axle  “D”  when  not  in  use.  Never 
leave  apron  soaking  in  water. 


Fig.  9. 


Developing 
Several 
Rolls  of 
Film  at 
Once: 

and  immersed 


Several  rolls  of  film  may  be  developed  at  the  same 
time  if  the  operator  wishes.  To  do  this  it  is  neces- 
sary to  have  a “Duplicating  Outfit”  consisting  of 
1 Solution  Cup  and  cover,  1 Transferring  Reel  and 
1 Apron  for  each  additional  roll  of  film  to  be  devel- 
oped. The  extra  rolls  of  film  may  then  be  wound 
on  to  Transferring  Reels  as  previously  described 
in  the  Solution  Cups. 


We  recommend  the  use  of  Pyro.  The  Kodak  Tank 
Preparing  Developer  Powders,  put  up  by  us,  are  prepared  espe- 

the  daily  for  use  with  our  film  and  the  Kodak  Film 

Developer:  Tank,  and  are  made  from  carefully  tested  chemicals. 

Put  four  or  five  ounces  of  lukewarm  water  into 
the  Solution  cup  and  dissolve  in  it  the  contents  of  the  large 
package.  Fill  the  cup  with  cold  water  to  the  embossed  ring — 
not  to  the  top.  Now  dissolve  the  contents  of  the  small  package 
in  this  solution  and  the  developer  will  be  ready.  The  tempera- 
ture of  the  developer  should  be  65  degrees  Fahr. 

If  some  of  the  contents  of  the  small  package  stick  to  the 
paper,  dip  the  paper  into  the  solution  to  remove. 

The  developer  must  always  be  mixed  fresh  and  used  for  only 
one  roll  of  film. 


DEVELOPMENT. 


85 


If  it  is  desired  to  shorten  the  length  of  develop- 
ment good  results  may  be  obtained  by  using  two 
pairs  of  powders  and  developing  for  ten  minutes. 

Those  who  prefer  to  prepare  their  own  developer 
may  do  so,  but  care  must  be  exercised  in  securing 
absolutely  pure  chemicals  and  correct  weights. 

'OR  20  MINUTE  DEVELOPMENT. 

Brownie  Tank. 

10  grains  Pyro. 

20  grains  Sulphite  of  Soda,  (desiccated).* 

20  grains  Carbonate  of  Soda,  (desiccated).* 

Dissolve  the  chemicals  in  order  named  in  five  or  six  ounces  of  lukewarm  water, 
then  add  cold  water  to  fill  tank  to  embossed  ring. 

Three  and  One-Half  Inch  Tank. 

22  grains  Pyro. 

44  grains  Sulphite  of  Soda,  (desiccated). 

44  grains  Carbonate  of  Soda,  (desiccated).* 

Dissolve  the  chemicals  in  order  named  in  five  or  six  ounces  of  lukewarm  water, 
then  add  cold  water  to  fill  tank  to  embossed  ring. 

Five  and  Seven  Inch  Tank. 

30  grains  Pyro 

60  grains  Sulphite  of  Soda,  (desiccated).* 

60  grains  Carbonate  of  Soda,  (desiccated).* 

Dissolve  the  chemicals  in  order  named  in  five  or  six  ounces  of  lukewarm  water, 
then  add  cold  water  to  fill  tank  to  embossed  ring. 

TEN  MINUTE  TANK  DEVELOPMENT. 

Brownie  Tank. 

20  grains  Pyro. 

40  grains  Sulphite  of  Soda,  (desiccated).* 

40  grains  Carbonate  of  Soda,  (desiccated).* 

Dissolve  the  chemicals  in  order  named  in  five  or  six  ounces  of  lukewarm  water, 
then  add  cold  water  to  fill  tank  to  embossed  ring. 

Three  and  One-Half  Inch  Tank. 

44  grains  Pyro. 

88  grains  Sulphite  of  Soda,  (desiccated).* 

88  grains  Carbonate  of  Soda,  (desiccated).* 

Dissolve  the  chemicals  in  order  named  in  five  or  six  ounces  of  lukewarm  water, 
then  add  cold  water  to  fill  tank  to  embossed  ring. 

Five  and  Seven  Inch  Tank. 

60  grains  Pyro. 

120  grains  Sulphite  of  Soda,  (desiccated).* 

120  grains  Carbonate  of  Soda,  (desiccated).* 

Dissolve  the  chemicals  in  order  named  in  five  or  six  ounces  of  lukewarm  water, 
then  add  cold  water  to  fill  tank  to  embossed  ring. 

Temperature  of  Developer,  65°  Fahr. 

*If  crystals  are  used,  double  the  quantity. 

NOTE. — Avoirdupois  weight  is  the  standard  used  in  compounding  photographic 
formulae. 


Short  De- 
velopment: 

Developer 

Formulae: 


86 


DE  VELOPMENT. 


TIME  AND  TEMPERATURE  FOR  TANK 
DEVELOPMENT. 

It  sometimes  happens  that  the  amateur  is  not  able  to  obtain 
or  maintain  the  standard  or  normal  temperature  of  65  degrees 
Fahr.  when  using  the  Kodak  Tank  and  the  Kodak  Tank  Devel- 
oper Powders.  In  such  cases  the  following  table  will  be  found  of 
value : 

Time  Time 

Temperature.  One  Powder.  Two  Powders. 

70  Degrees  15  Minutes  8 Minutes 


69 

- 

- 

16 

“ 

68 

it 

- 

- 

17 

*€ 

9 

it 

67 

u 

- 

- 

18 

a 

66 

a 

- 

- 

19 

a 

65 

a 

NORMAL 

20 

“ NORMAL 

10 

“ NORMAL 

64 

a 

- 

- 

21 

“ 

63 

a 

- 

- 

22 

a 

62 

a 

- 

- 

23 

“ 

11 

it 

61 

a 

- 

- 

24 

a 

60 

- 

- 

25 

“ 

59 

tt 

_ 

- 

26 

a 

12 

tt 

58 

a 

- 

- 

27 

a 

57 

a 

- 

- 

28 

“ 

56 

a 

- 

- 

29 

u 

13 

a 

55 

“ 

- 

- 

30 

a 

54 

a 

- 

- 

31 

it 

53 

a 

- 

- 

32 

u 

14 

cc 

52 

a 

- 

_ 

33 

a 

51 

a 

_ 

_ 

34 

a 

50 

a 

- 

- 

35 

a 

15 

a 

49 

a 

- 

- 

36 

“ 

48 

a 

- 

- 

37 

“ 

47 

a 

- 

- 

38 

a 

16 

tt 

46 

- 

- 

39 

“ 

45 

“ 

- 

- 

40 

tt 

17 

“ 

With  Speed  Film  develop  25%  longer. 

Temperature  of  Developer  must  not  exceed  70  degrees  Fahr., 
as  above  that  point  there  is  danger  of  the  film  frilling.  45  de- 
grees Fahr.  is  the  lowest  temperature  at  which  the  developing 
powders  can  be  dissolved  and  even  at  this  temperature  the  pow- 
der must  be  finely  crushed  and  added  slowly  to  the  water. 

It  is  best  to  use  the  normal  temperature  (65°)  when  possible 
as  the  use  of  a developer  that  is  colder  than  normal  has  a slight 
tendency  to  increase  the  contrast  in  a negative,  while  the  use  of 
a developer  warmer  than  normal  slightly  flattens  the  negatives. 

. Provide  a box  of  Kodak  Acid  Fixing  Powder  which 
Ine  -Fixing  should  be  prepared  as  per  instructions  on  the  paclc- 

Bath:  age.  Put  this  into  a tray  or  wash  bowl.  When  the 

powder  is  thoroughly  dissolved  add  to  the  solution 
as  much  of  the  Acidifier,  which  you  will  find  in  a small  box  inside 
the  large  one,  as  directions  call  for.  As  soon  as  this  has  dissolved 


DEVELOPMENT. 


87 


the  Fixing  Bath  is  ready  for  use.  Any  quantity  of  the  bath  may 
be  prepared  in  the  above  proportions. 

Pass  the  film  face  down  (the  face  is  the  dull  side)  through  the 
fixing  solution  as  shown  in  the  cut,  holding  one  end  in  each  hand. 
Do  this  three  or  four  times  and  then  place 
one  end  of  the  film  in  the  tray,  (8  x 10 
inches  is  a good  size)  still  face  down,  and 
lower  the  strip  into  the  solution  in  folds. 

Gently  press  the  film  where  the  folds  occur, 
not  tightly  enough  to  crack  it,  down  into 
the  solution  a few  times  during  the  course 
of  fixing.  This  insures  the  fixing  solution 
reaching  every  part  of  the  film.  Allow  the 
film  to  remain  in  the  solution  two  or  three 
minutes  after  it  has  cleared,  or  the  milky 
appearance  has  disappeared.  Then  remove 
for  washing. 

NOTE. — If  preferred  negatives  may  be  cut  apart 
and  fixed  separately. 

Eastman  N.  C.  Film  must  always  be 
fixed  in  an  acid  bath.  There  is  nothing  superior  to  the  Kodak 
Acid  Fixing  Powders,  but  the  following  formula  may  be  used  if 
desired. 

Water,  ------  16  ozs. 

Hyposulphite  of  Soda,  - 4 ozs. 

Sulphite  of  Soda  (desiccated),  - % oz. 

When  fully  dissolved,  add  the  following  hardener : 

Powdered  Alum,  - - - - yfr  oz. 

Citric  Acid,  - - - - - yfr  oz. 

This  bath  may  be  made  up  at  any  time  in  advance  and  be  used 
so  long  as  it  retains  its  strength,  or  is  not  sufficiently  discolored 
by  developer  carried  into  it  to  stain  the  negatives. 

All  negatives  must  be  thoroughly  washed  so  as  to 
Washing:  remove  every  trace  of  hypo  and  other  foreign  sub- 

stance. Where  running  water  is  accessible  the  films 
may  be  placed  in  a tray  or  washing  box  and  left  under  a tap  from 
which  runs  a gentle  stream,  for  about  an  hour.  Films  should  be 
moved  about  from  time  to  time,  so  that  a complete  and  thorough 
washing  may  be  had.  Do  not  crowd  too  many  films  in  too  small 
a tray  during  this  process.  When  running  water  is  not  accessible, 
the  negatives  may  be  placed  in  a tray  or  bowl  of  cold  water,  and 
left  to  soak  for  five  minutes,  when  the  water  should  be  changed 
and  the  process  repeated  five  or  six  times. 

When  thoroughly  washed,  snap  an  Eastman  Film 
Developing  Clip  on  each  end  of  the  strip  and  hang 
it  up  to  dry  or  pin  it  up.  Be  sure,  however,  that 
it  swings  clear  of  the  wall  so  that  there  will  be  no 
possibility  of  either  side  of  the  film  coming  in 
contact  with  the  latter. 


Drying  N. 

C.  Film 
Negatives: 


88 


DEVELOPMEN  T. 


If  the  film  has  been  cut  up,  pin  by  one  corner  to  the 
edge  of  a shelf  or  hang  the  negatives  on  a stretched 
string  by  means  of  a bent  pin,  running  the  pin  through 
the  corner  of  the  film  to  the  head,  then  hooking  it  over 
the  string. 

Over-development  may  be  caused  by 
Over-De-  a mistake  in  leaving  films  in  the  devel- 
velopment:  oper  too  long,  by  using  the  solution  too 

warm,  or  by  those  who  mix  their  own 
chemicals,  in  getting  the  developing  agent  too  strong. 

In  such  cases  negatives  are  very  strong  and  intense 
by  transmitted  light,  and  require  a long  time  to  print. 

The  remedy  is  to  reduce  by  using  Eastman  Re- 
ducer, or  by  the  following  method : 

REDUCER. 


Drying  with 
Clips. 


First  soak  negative  20  minutes  in  water,  then  im- 
merse in : 

Water,  ------  6 ounces. 

Hyposulphite  Soda,  J4  ounce. 

Ferri-Cyanide  Potassium  (saturated 

solution)  Poison,  20  drops. 


Rock  tray  gently  back  and  forth  until  negative  has  been  reduced 
to  the  desired  density,  then  wash  10  minutes  in  running  water  or 
in  four  changes  of  water. 

Negatives  may  be  reduced  locally  by  applying  the  above  solu- 
tion to  the  dense  parts  with  a camel’s  hair  brush,  rinsing  off  the 
reducer  with  clear  water  frequently  to  prevent  it  from  running 
onto  the  parts  of  the  negative  that  do  not  require  reducing. 

Should  any  yellowness  or  staining  appear  in  the  reduced  nega- 
tive, it  may  be  removed  by  replacing  same  in  the  Acid  Fixing  Bath 
for  a few  minutes. 

This  defect  would  be  caused  by  a mistake  in  remov- 
Under-De-  ffig  films  from  the  developer  too  soon,  by  using 
velopment:  solutions  too  cold,  or  by  an  error  in  compounding 

chemicals. 

It  is  obvious  that  neither  of  these  defects  will  occur  if  in- 
structions for  tank  development  &re  properly  followed. 

The  remedy  for  under-development  is  to  intensify  by  re-devel- 
opment (See  page  89),  or  by  the  following  method: 

Intensification. — After  fixing  and  thorough  washing,  lay  the 
film  while  wet,  face  up  in  an  empty  tray  and  pour  over  it  sufficient 
Intensifier  to  fully  cover  it;  allow  it  to  act  until  the  film  is  all  of 
one  even  color  and  then  pour  the  Intensifier  back  into  the  bottle 
and  wash  the  film  in  four  or  five  changes  of  water  for  fifteen 
minutes. 

Intensifier  may  be  purchased  already  prepared  or  the  amateur 
may  put  it  up  himself,  using  the  following  formula : 


DEVELOPMENT. 


89 


INTENSIFIED 

No.  1,  75  gr.  Bi-chloride  of  Mercury,  (corrosive  sublimate) 
Poison,  -------  5 oz.  Water. 

No.  2,  112  gr.  Iodide  of  Potassium,  - - 2^2  “ 

No.  3,  150  gr.  Hypo-sulphite  of  Soda,  - 2^4  “ 

Dissolve  separately  and  combine  No.  1 with  No.  2 and  the  result- 
ing mixture  with  No.  3. 

While  the  method  of  intensification  by  re-develop- 
Intensifica-  ment  is  comparatively  new,  Velox  and  Royal  Re- 
tion  by  Re-  developer  for  Sepia  tones  on  Velox  and  Bromide 
velopment:  prints  in  a most  effective  and  simple  means  of  in- 

tensifying film  negatives. 

Velox  or  Royal  Re-developer  may  be  used  in  exactly  the  same 
manner  as  for  producing  Sepia  tones  on  developing  papers. 

Negatives  intensified  by  re-development  are  built  up  evenly, 
without  undue  contrast  and  without  the  chance  of  staining. 

The  advantage  of  being  able  to  use  the  chemicals  for  tw*o 
different  purposes  (Sepia  toning  prints  or  intensifying  negatives) 
is  obvious,  the  results  in  either  case  being  all  that  could  be  desired. 

For  use  with  the  Kodak  Film  Tank  the  cartridges 
must  be  specially  prepared  by  sticking  the  loose  end 
of  film  to  duplex  paper,  which  operation  can  be 
accomplished  in  the  following  manner : 

Just  before  you  are  ready  to  develop  (holding  spool  with  the 
black  side  of  the  duplex  paper  up)  unroll  the  duplex  paper 
carefully  until  you  uncover  the  piece  of  gummed  paper  which 
is  fastened  to  end  of  film  and  is  to  be  used  as  a means  of  fas- 
tening film  to  duplex  paper.  Moisten  the  gummed  side  of  sticker 
evenly  for  about  an  inch  across  the  end  and  stick  it  down  to 
duplex  paper,  rubbing  thoroughly  to  secure  perfect  adhesion. 
Wind  end  of  duplex  paper  on  spool  again  and  the  cartridge  is 
ready  to  insert  in  machine. 

Some  photographers  prefer  to  wet  the  surface  of 
At  Your  their  films  or  plates  before  applying  the  developer,  in 
Option:  order  to  insure  an  even  flow  of  same  and  avoid  the 

possibility  of  streaks.  This  can  be  readily  done  with 
the  Kodak  Film  Tank.  Instead  of  putting  the  Transferring  Reel 
immediately  into  the  developer,  first  fill  the  Solution  Cup  with 
clear,  cold  water.  Immerse  the  Reel  in  this  for  a few  seconds — 
pour  off  and  proceed  as  described  with  developing. 

Sometimes  when  one  is  travelling,  a glass  graduate 
A Short  for  measuring  developer  is  more  or  less  of  a 

Cut:  nuisance,  on  account  of  its  bulk  and  the  liability  of 

breakage.  This  can  be  dispensed  with  by  half  filling 
an  ordinary  tumbler  with  water  (about  75°  temperature)  and 
dissolving  the  developer  powders  therein. 

Pour  this  into  the  tank  and  add  cold  water  to  embossed  ring. 
By  previous  experiment  without  the  chemicals,  you  can  find  out 


Preparing 

the 

Cartridges: 


90 


DEVELOPMENT . 


what  proportions  of  the  lukewarm  and  cold  water  to  use,  so  as 
to  get  the  proper  temperature,  65°. 

The  fixing  bath  may  also  be  prepared  without  a graduate.  The 
average  tumbler  holds  approximately  eight  ounces;  you  can,  there- 
fore, get  your  fixing  bath  nearly  enough  of  the  right  strength  by 
its  use,  as  a little  variation  in  the  strength  of  the  solution  makes 
no  difference,  provided  only  that  you  fix  for  five  minutes  after 
the  milky  appearance  has  disappeared  from  the  back  of  negatives. 

Cartridge  Roll  Holder  Film  may  be  developed  in 

Special  the  Kodak  Film  Tank  by  following  these  directions: 
Directions:  Place  the  small  metal 

adapter,  which  comes 
with  Film  Tank,  on  the  pivot  on  the 
movable  side  of  spool  carrier.  Then 
place  the  cartridge  in  carrier  so  that 
the  duplex  paper  will  draw  from  the 
bottom  instead  of  from  the  top.  This 
is  exactly  opposite  to  the  way  in  which 
a Kodak  cartridge  is  inserted. 

All  Cartridge  Roll-Holder  Films 
have  a piece  of  gummed  manila  paper 
on  the  loose  end  of  the  film.  To  pre- 
pare same  for  Film  Tank,  unroll  the 
duplex  paper  until  the  manila  paper  is 
reached.  Moisten  the  gummed  side  and 
paste  it  to  duplex  paper  as  shown  in  cut.  Again  wind  paper  on 
spool. 

The  cartridge  is  now  ready  for  insertion  in  the  Film  Tank 
box. 

With  the  Roll-Holder  Cartridge  the  “Stop”  warning  is  not 
printed  on  the  duplex  paper,  but  instead  the  operator  is  to  “Stop” 
when  about  one  inch  of  the  manila  paper,  with  which  the  end  of 
the  film  is  fastened  down,  appears. 

From  this  point  proceed  in  the  same  manner  as  with  a Kodak 
Cartridge. 


THE  DARK-ROOM  METHOD. 

The  first  essential  is  a dark-room.  By  a dark-room  is  meant 
one  that  is  wholly  dark — not  a ray  of  light  in  it.  Such  a room 
can  easily  be  secured  at  night  almost  anywhere.  The  reason  a 
dark-room  is  required  is  that  the  film  is  extremely  sensitive  to 
white  light,  either  daylight  or  lamplight,  and  would  be  spoiled  if 
exposed  to  it  even  for  a fraction  of  a second. 

If  possible  have  running  water,  but  if  this  is  not  available  pro- 
vide a pitcher  of  cold  water  (ice  water  in  summer),  a shelf  or 
table  on  which  to  work  and  a pair  of  shears. 

Also  provide  a Developing  and  Printing  Outfit  which  should 
contain : 

i Dark-Room  Lamp,  Package  Developer  Powders, 

4 Developing  Trays,  I lb.  Kodak  Acid  Fixing  Powder, 

I 4-Ounce  Graduate,  I Package  Bromide  Potassium, 

i Stirring  Rod. 


DEVELOPMENT. 


9 


Such  an  outfit  need  not  cost  more  than  one  or  two  dollars  and 
will  be  sufficiently  elaborate  for  your  first  work. 

Having  provided  a room  or  closet,  where,  when  the  door  is 
closed,  no  ray  of  light  can  be  seen : 

Set  up  on  the  table  or  shelf  the  Dark-Room  Lamp. 

The  lamp  gives  a subdued  red  light  which  will  not  injure  the 
film  unless  it  is  held  too  close  to  it.  Set  the  lamp  on  the  table 
at  least  eighteen  inches  from  the  operator.  Never  use  a yellow 
light  with  N.  C.  Film  or  fog  will  be  the  result. 

1.  Fill  one  of  the  trays  nearly  full  of  water  (first  tray). 

2.  Open  one  of  the  developer  powders,  then  put  the  contents 
(two  chemicals)  into  graduate  and  fill  it  up  to  the  4-ounce  mark 
with  water.  Stir  until  dissolved  with  the  wooden  stirring  rod 
and  pour  into  second  tray. 

3.  To  develop,  unroll  the  film  and  detach  the  entire  strip  from 
the  duplex  paper. 

4.  Pass  the  film  through  the  tray  of  clean,  cold  water  as 
shown  in  the  cut,  holding  one  end  in  each  hand.  Pass  through 
the  water  several  times,  that  there  may  be  no  bubbles  remaining 
on  the  film.  When  it  is  thoroughly  wet,  with  no  air  bubbles,  it  is 
ready  for  development. 

5.  Now  pass  the  film  through  the  developer  in  the  same  man- 
ner as  described  for  wetting  it  and  shown  in  cut  on  page  87.  Keep 
it  constantly  in  motion,  and  in  about  one  minute  the  high  lights  will 
begin  to  darken  and  you  will  readily  be  able  to  distinguish  the 
unexposed  sections  between  the  negatives,  and  in  about  two  min- 
utes will  be  able  to  distinguish  objects  in  the  picture.  Complete 
development  in  the  strip,  giving  sufficient  length  of  development 
to  bring  out  what  detail  you  can  in  the  thinnest  negatives.  There 
is  no  harm  in  having  your  negatives  of  different  density.  This 
can  be  set  right  in  the  printing.  The  difference  in  density  does  not 
affect  the  difference  in  contrast. 

Keep  the  strip  which  is  being  developed  constantly  in  motion, 
allowing  the  developer  to  act  5 to  10  minutes.  The  progress  of 
development  may  be  watched  by  holding  the  negatives  up  to  the 
lamp  from  time  to  time. 

When  developing  Eastman  N.  C.  Film,  use  a red  lamp  and 
take  care  not  to  hold  the  film  close  to  the  lamp  for  any  length 
of  time.  This  film  is  very  rapid  and  is  orthochromatic,  there- 
fore liable  to  fog  unless  handled  very  carefully. 

6.  After  completing  development,  transfer  to  the  third  tray 
and  rinse  two  or  three  times  with  clear,  cold  water,  and  transfer 
to  fixing  bath.  (Page  86). 

NOTE.— Fog  is  sometimes  caused  by  the  light  coming  in  contact  with  film  other 
than  that  which  comes  through  the  lens  during  the  proper  exposure.  Frequently  it 
is  caused  by  exposure  to  an  unsafe  light  during  development;  also  by  light  entering 
the  dark-room  through  the  key-hole  or  a crack  in  the  door.  Examine  your  dark-room 
thoroughly  before  developing  and  see  that  all  white  light  is  excluded.  Fog  is  also 
often  caused  by  the  negative  being  exposed  to  light  after  development  but  before 
fixing,  and  if  the  negative  is  exposed  to  light  before  the  developing  solution  has  been 
washed  out  a reversal  of  the  image  will  frequently  be  found. 


92 


DE  VELOPMENT. 


DEVELOPING  PREMO  FILM  PACK  FILMS  IN 
PREMO  FILM  PACK  TANK. 

The  Premo  Film  Pack  Tank  consists  of  two  pieces— a metal 
receiver  or  cage  for  the  films,  and  a tank  with  cover  for  the  de- 
veloping fluid.  The  entire  outfit  is  self  contained  and  can  be 
easily  carried. 

The  cage  is  divided  into  twelve  compartments — in  the  5x7 
size,  six — each  accommodating  one  film. 

Remove  the  cover  of  the  tank  by  turning  it  to  the 
To  Prepare  ieft.  The  cage  or  holder  for  the  separate  films  can 
the  then  be  removed  from  the  tank. 

Developer:  Pour  into  the  tank  sufficient  developer  to  bring 

it  even  with  the  embossed  ring  at  the  top  which 
shows  the  proper  level  for  the  developing  fluid.  If  the  tanks  are 
not  filled  to  this  point,  any  portion  of  the  film  which  projects  will 
remain  undeveloped. 

The  temperature  of  the  developer  when  ready  for  use  should 
be  65  degrees  Fahrenheit. 

Dissolve  a pound  package  of  Kodak  Acid  Fixing 
Powder  in  64  ounces  of  water.  (This  solution  may 
be  bottled  and  used  over  and  over  again  until  it 
loses  strength.) 

At  this  point  all  white  light  should  be  excluded  from  the  dark- 
room. If  no  dark-room  is  available,  this  work  can  be  done  at 
night  in  any  room  in  which  there  is  a tap  of  running  water,  care 
being  taken  that  there  is  no  white  light  in  the  room  during  the 
few  minutes  when  the  films  are  being  transferred  from  the  pack 
to  the  cage. 

When  all  exposures  in  the  film  pack  have  been 
To  Remove  made  it  is  light  tight,  and  may  be  taken  from  the 
Films  From  camera  in  daylight.  Provided  exposed  films  have 

Pack:  previously  been  removed,  as  described  below,  the 

Film  pack  should  be  resealed  immediately  ’ after 
removing  it  in  daylight  from  the  camera  or  adapter  after  the 
twelfth  exposure  has  been  made,  by  moistening  the  inside  of  the 

corner  flaps,  when 
they  may  be  stuck 
firmly  to  the  sides. 

When  ready  to 
develop  break  the 
red  seal  at  the  sides 
and  pull  down  bot- 
tom flap.  (See 

Fig.  1.) 


Fig.  I. 


To  Prepare 
the  Fixing 
Solution: 


DEVELOPMENT. 


93 


This  gives  access  to 
exposed  film  which 
may  be  removed  as 
shown  in  Fig.  2. 

To  remove  one  or 
more  films  for  devel- 
opment before  the  en- 
tire package  is  ex- 
posed : 

Take  the  camera  or 
adapter  to  the  dark-room,  remove  the  pack  and  break  the  red 
seal  as  above.  After  removing  the  exposed  film,  the  pack  can  be 
replaced  without  sealing  in  the  camera  or  adapter  before  leaving 
the  dark-room  and  everything  is  ready  for  additional  exposures. 

Important — When  removing  any  films  for  development  before 
all  are  exposed,  do  not  remove  papers  of  safety  cover,  but  leave 
same  to  protect  top  film  after  all  have  been  exposed  and  the 
pack  removed  in  daylight. 


When  all  is  ready  load  each  film  into  its  respective 
To  Load  compartment  of  the  cage  without  detaching  the 

Films  Into  black  paper.  This  is  readily  done  by  holding  the 

Cage:  film  between  the  thumb  and  fingers  with  the  black 

paper  toward  the  hand,  and  doubling  the  edges  to- 
gether as  shown  in 
Fig.  3.  Slide  them 
carefully  down  to  the 
bottom  of  each  com- 
partment, with  torn 
edge  up,  and  see  that 
the  center  piece  pro- 
trudes between  the 
edges  of  the  film, 
preventing  them  from 
coming  together  dur- 
ing the  process  of  de- 
velopment. 

When  all  the  films 
are  loaded,  place  cage 
into  developing  tank  (Fig.  4)  and  raise  and  lower  it  slightly  below 
the  surface  of  the  developer,  two  or  three  times,  to  expel  air 
bubbles.  Replace  the  cover  of  the  tank  by  dropping  it  on  and 
turning  it  to  the  right  as  far  as  possible. 


Fig.  III. 

The  Premo  Film  Pack  Tank. 


NOTE.— The  cage  of  the  No.  i Tank,  as  compared  with  illustration  Fig.  3,  is 
slightly  different  in  appearance  but  the  method  of  loading  and  using  is  exactly  the 
same. 

The  white  light  may  now  be  turned  on  and  the  time  noted. 
The  time  may  be  marked  on  the  dial  which  appears  on  the  face 
of  the  container  that  comes  with  the  developing  powders. 

During  the  process  of  development  the  tank  should  be  turned 
end  for  end  four  or  five  times  to  secure  uniform  and  even 
development.  At  the  expiration  of  twenty  minutes  the  top  may 
be  removed  in  dark-room  or  very  subdued  light  and  the  devel- 


94 


DEVELOPMENT. 


oper  poured  off.  The  tank  should  now  be  held  under  a tap  of 
running  water  or  immersed  for  a few  seconds  in  a vessel  of 
clear  water.  The  films  are  then  ready  for  fixing.  Page  86. 

The  fixing  bath  may  be  prepared  in  a tray  or  other  vessel, 
the  receiver  taken  from  tank — the  metal 
hook  being  intended  for  this  purpose — and 
the  films  removed  from  the  cage,  the  black 
papers  pulled  off  and  films  placed  in  the 
bath,  leaving  the  tank  and  cage  available  for 
the  next  pack.  The  films  should  be  changed 
about  two  or  three  times  to  insure  evenness 
of  fixing. 

After  the  films  have  been  fixed  a suf- 
ficient length  of  time  so  that  all  the  shadows 
are  perfectly  transparent  and  no  yellowish 
spots  appear,  they  should  be  placed  in  a 
tray  under  running  water  and  washed  for 
half  an  hour.  Before  washing  be  sure  black 
papers  are  all  detached.  If  running  water  is 
not  available  they  should  be  left  in  the  water 
about  three-quarters  of  an  hour  and  the  water  changed  six  or  eight 
times  to  remove  all  trace  of  hypo.  For  drying  films  see  page  87. 

The  above  instructions,  if  carefully  followed,  will  produce  the 
most  satisfactory  results,  provided  anything  like  proper  exposures 
have  been  given.  We  recommend  the  use  of  the  regular  Premo 
Developing  Powders  in  these  tanks,  as  they  have  been  compounded 
from  the  purest  chemicals  for  this  purpose. 

For  those  who  wish  to  mix  their  own  solutions,  we  give  the 
following  formulae: 

STOCK  DEVELOPING  SOLUTION— PYRO  FORMULA. 

Pyrogallic  Acid  Solution. 

Pyrogallic  Acid,  - - - - 1 oz. 

^Sulphuric  Acid,  20  minims. 

Water,  ------  28  ozs. 

♦If  Eastman  Permanent  Crystal  Pyro  is  used  the  acid  should  be  omitted. 

Soda  Solution. 

Sulphite  Soda  (desiccated),  - - 3 ozs. 

*Carbonate  Soda  (desiccated),  - 3 ozs. 

Water,  ------  30  ozs. 

♦This  solution  is  based  on  the  strength  of  Eastman  Sulphite  and  Carbonate, 
and  if  possible,  these  chemicals  should  be  used. 

For  No.  1 Film  Pack  Tank — 28  Ozs.,  Take: 

Pyro  Solution,  - - - - V/z  ozs. 

Soda  Solution,  - - - - V/2.  ozs. 

Water,  ------  25  ozs. 

Develop  20  Minutes  65°  F. 


DE  VELOPMENT. 


95 


For  No.  2 Film  Pack  Tank — 52  Ozs.,  Take: 

Pyro  Solution,  - 3 ozs. 

Soda  Solution,  - 3 ozs. 

Water,  ------  46  ozs. 

Develop  20  Minutes  65°  F. 


For  No.  3 Film  Pack  Tank — 68  Ozs.,  Take: 

Pyro  Solution,  - Z/2  ozs. 

Soda  Solution,  - - - - 3^4  ozs. 

Water,  ------  61  ozs. 

Develop  20  Minutes  65°  F. 

NOTE.— Premo  Film  Pack  Speed  Film  should  be  developed  25%  longer  than  the 
regular  Premo  N.  C.  Film. 

After  removing  the  exposed  Films  from  the  Pack, 
Developing  (see  page  92),  the  black  paper  to  which  they  will 

by  the  be  found  attached  should  be  removed  and  each  film 

Dark-Room  placed,  emulsion  side  down,  in  a tray  of  water.  (The 

Method:  emulsion  side,  or  face,  is  the  dull  side.)  They 

should  be  allowed  to  stand  two  or  three  minutes 
and  then  each  film  should  be  placed  separately  in  the  developing 
tray,  still  face  down.  The  tray  should  be  rocked  gently  from 
time  to  time,  the  films  never  being  allowed  to  mat  together,  and 
the  progress  of  development  ascertained  by  holding  the  film  up  10 
the  light  of  the  lamp. 

After  completing  development  transfer  to  fixing  bath.  See 
page  86. 


DEVELOPING  DRY  PLATES. 

The  foregoing  directions  apply  to  dry  plates  as  well  as  films, 
the  chemical  treatment  being  the  same,  except  that  the  prelim- 
inary wetting  may  be  omitted  with  plates. 

Plates,  however,  must  be  handled  in  the  solutions  one  at  a 
time  as  they  would  scratch  each  other  if  a larger  number  were 
put  into  the  trays  simultaneously.  They  should  also  be  developed 
face  up. 

NOTE. — Plates  should  be  developed  to  the  same  density  as  film  negatives  and 
may  be  examined,  while  developing,  before  the  dark-room  lamp  in  the  same  manner. 

For  fixing  plates  it  is  best  to  procure  a fixing  box,  which  is 
arranged  with  a set,  usually  of  twelve  grooves.  Each  plate  may 
thus  be  dropped  into  a groove  for  fixing,  thus  eliminating  the 
danger  of  scratching  or  over-lapping. 

In  washing  plates  be  careful  that  they  do  not  over- 
Washing:  lap  or  touch  each  other,  owing  to  the  likelihood  of 

the  corners  scratching  the  emulsion. 

After  the  negatives  have  been  thoroughly  washed  they  must 
be  dried : 

Plates  should  be  placed  in  a drying  rack  and  kept  in  a cool 
place  until  dry.  They  are  then  ready  for  printing. 


96 


DEVELOPMENT. 


DEVELOPING  PLATES  WITH  THE  EASTMAN 
PLATE  TANK. 

The  Plate  Tank  is 
the  same  in  theory  as 
the  Kodak  Film  Tank, 
with,  of  course,  such 
modifications  as  are 
rendered  necessary  by 
the  physical  difference 
between  plates  and 
film.  The  Eastman 
Plate  Tank  consists  of 
a metal  solution  cup 
with  tightly  fitting 
cover,  a cage  for  hold- 
ing twelve  plates,  or 
less,  during  development  and  an  ingenious  loading  block  for  load- 
ing the  plates  into  the  cage  in  the  dark-room. 

The  exposed  plates  are  loaded  into  the  cage  and  placed  in  the 
tank  in  the  dark-room,  and  the  tank  cover  fastened  in  place.  On 
the  front  of  the  tank  is  a dial  for  registering  time.  Development 
is  allowed  to  continue  for  fifteen  minutes,  the  tank  being  reversed 
several  times.  After  development  the  developer  is  washed  from  the 
plates,  the  cage  removed  from  the  tank  in  subdued  light,  and  the 
plates  placed  in  fixing  bath.  (See  page  86).  After  fixing  the  plates 
are  ready  for  washing  in  the  usual  manner. 

We  recommend  the  use  of  Pyro.  The  Kodak  Tank 
Developer  Powders  are  prepared  for  use  with  the 
Eastman  Plate  Tank  and  are  made  from  carefully 
selected  and  tested  chemicals. 

For  the  4x5  Eastman  Plate  Tank,  use  a “3^2  Inch”  Kodak 
Tank  Developer  Powder,  and  for  the  5x7  Tank,  use  a 5x7 
Plate  Tank  Developer  Powder. 

For  those  who  prefer  to  mix  their  own  chemicals  full  instruc- 
tions will  be  found  with  each  Tank. 


The 

Developer: 


What 


It  is  well  not  to  try  too  many  developers  at  the 
beginning.  To  understand  one  thoroughly,  or  at 
Developer  to  m0st  two,  will  give  you  results  from  which  you 
Use  for  will  obtain  more  satisfaction  than  should  you  dabble 
Dark-Room  with  the  various  formulas  on  the  market  to-day. 
Development:  Thoroughly  master  one  before  trying  others.  One 
may  start  with  “Pyro”  or  “Hydrochinon”,  which 
are  without  doubt  two  of  the  best. 

Pyro  the  most  popular,  has  a decided  tendency  to  stain  the 
fingers.  Should  this  be  objected  to,  Hydrochinon  in  connection 
with  Elon  or  Metol(  which  is  free  from  that  objection)  can  be 
used  with  good  results.  Not  every  photographic  beginner  owns  a 
pair  of  chemist’s  scales,  which  are  a necessity  should  he  wish  to 
compound  the  formula  himself.  Rather  than  be  uncertain  as  to 
correctness,  we  would  advise  the  use  of  developing  powders. 


DEVELOPMENT. 


97 


Eastman  Special  Developer  Powders  are  particularly  desirable  as 
they  do  not  stain  the  fingers.  If,  however,  the  amateur  desires  to 
mix  his  own  developer,  the  following  stock  solutions  used  as  be- 
low will  be  found  excellent  developers  for  the  dark-room. 


PYRO  DEVELOPING  FORMULA. 


Pyrogallic  Acid  Solution. 


“A” 

Pyrogallic  Acid, 
Sulphuric  Acid, 
Water, 


Avoirdupois. 

1 oz. 

20  minims. 
28  ozs. 


Metric  System. 
30  grams. 

1 c.  c. 

900  c.  c. 


Soda  Solution. 

“B”  Avoirdupois. 

Carbonate  Soda  (desiccated*),  2 ozs. 

Sulphite  Soda  (desiccated*),  3 ozs. 

Water,  28  ozs. 


Metric  System. 
60  grams. 
90  grams. 
900  c.  c. 


For  Dark-Room  Development  Take 

“A,”  - - - - - 14  oz.  ( 15  c.  c.) 

“B,”  - - - - - *4  oz.  ( 15  c.  c.) 

Water,  -----  4 ozs.  (120  c.  c.) 

This  developer  will  then  contain  1.56  grains  Pyro  per  ounce. 


ELON-HYDROCHINON  OR  METOL-HYDROCHINON. 
Solution  A. 


Elon  or  Metol,  ------  60  grains. 

Hydrochinon,  -------30“ 

Sulphite  of  Soda  (desiccated*)  - - - M oz. 

Water,  - --  --  --  -20  ozs. 

Solution  B. 

Carbonate  of  Soda  (desiccated*),  - - - y2  oz. 

Water,  - --  --  --  - 20  ozs. 


Take  Solution  A 1 oz.,  Solution  B 1 oz.,  Water  2 
To  Develop:  ozs.  Add  one  or  two  drops  of  a 10  per  cent,  solu- 

tion Potassium  Bromide  to  each  ounce  of  developer. 

*If  crystals  are  used,  double  the  quantity. 

NOTE — By  making  a comparison  between  the  developing  solutions  used  in  the 
developing  Tanks  with  those  in  use  for  dark-room  development,  Sulphite  of  Soda  is 
in  excess.  The  reason  for  this  is  that,  owing  to  oxidation  when  exposed  to  the  air 
as  in  dark-room  development  the  Sulphite  of  Soda  is  necessary  to  prevent  the  nega- 
tives becoming  too  yellow.  By  the  tank  method  we  may  use  a minimum  of  sulphite 
as  the  negatives  are  not  subject  to  this  fault. 


08 


DEVELOPMENT. 


A FEW  REMARKS  UPON  DEVELOPMENT. 

The  foregoing  pages  fully  cover  the  subject  of  development  so 
far  as  telling  the  beginner  exactly  what  to  do  is  concerned,  but  a 
word  of  the  theory  of  development  will  nevertheless  prove  valuable. 

An  exposed  and  unexposed  film  do  not  differ,  so  far  as  the 
eye  can  judge.  It  is  necessary,  therefore,  to  “develop”  the  exposed 
film  to  reveal  the  action  of  the  sun’s  rays. 

The  chemicals  of  the  developer  are : 

The  active  or  developing  agent,  such  as  Pyrogallic  acid  (com- 
monly known  as  Pyro)  Hydrochinon,  and  Hydrochinon  in  com- 
bination with  Elon  or  Metol,  affect  the  latent  image  by  reducing 
to  metallic  silver  those  parts  which  have  been  affected  by  the  light. 
In  other  words,  it  blackens  them.  But  these  agents  require  the 
use  of  another  substance  to  give  them  energy : 

An  alkali  when  mixed  with  the  active  developing 
Accelerator:  agent  gives  it  a greater  affinity  for  oxygen;  it 

therefore  becomes  more  energetic  as  a reducer. 
This  alkali  is  called  an  accelerator.  The  alkalies  most  commonly 
used  are  Carbonate  of  Soda  (known  as  sal  soda  and  washing 
soda)  and  Carbonate  of  Potassium. 

A restrainer  is  a substance  that  has  the  power  to 
Restrainer:  restrain  or  retard  the  action  of  development.  Bromide 

of  Potassium,  most  commonly  used  for  that  pur- 
pose, has  the  property  of  dissolving  a certain  amount  of  Bromide 
of  Silver  from  the  film,  thereby  forming  a double  salt  which  is 
less  easily  reduced  by  the  developer.  This  action  having  taken 
place,  the  development  is  much  slower ; hence  the  name,  “restrainer”. 

The  preservative  is  a substance  that  will  keep  the 
Preservative:  developer  from  discoloring  and  oxydizing  when  it 
is  to  be  kept  for  future  use.  “Sulphite  of  Soda”  is 
most  commonly  used  for  that  purpose;  it  also  has  much  to  do 
with  the  color  of  the  negative.  If  only  a small  portion  be  used 
the  negative  will  be  brown,  the  quality  being  harsh  and  hard  and 
one  that  will  give  you  a print  of  much  contrast,  while  the  use  of  a 
greater  portion  gives  a gray,  soft  negative  with  more  detail. 

The  fixing  or  clearing  of  a negative  is  due  to  the 
Fixing  the  action  of  the  “Hyposulphite  of  Soda”  eating  out 

Negative:  the  Bromide  of  Silver  not  acted  upon  by  the  light, 

and  until  this  has  been  accomplished  it  is  still  sen- 
sitive. When  the  creamy  appearance  on  the  back  of  the  negative 
disappears  it  may  be  called  “fixed”,  and  can  then  be  taken  from 
the  bath  and  exposed  to  any  light  without  fear  of  injury. 

After  fixing  the  negative  must  be  thoroughly 
Washing:  washed  to  remove  hypo  or  staining  will  result.  The 

hypo  unless  fully  removed  would  also  ruin  the  sen- 
sitive paper  upon  which  the  print  is  to  be  made,  even  before  it 
would  show  stain  on  the  negative. 


Printing. 

Having  developed  the  negatives  the  final  step  in  the  picture 
making  is  now  in  order — making  the  prints.  For  printing  there 
are  many  papers — grouped  under  two  general  classes,  “printing 
out”  papers,  where  the  image  is  visible  after  printing  and  “devel- 
oping out”  papers  which  require  a developing  solution  to  make 
the  image  visible. 

For  the  amateur  there  is  no  more  satisfactory  printing  process 
than  that  offered  by  the  use  of  Velox.  Prints  made  by  this 
process  give  a rich,  soft  Platinum  effect  not  excelled  by  any  other 
paper. 

Velox  can  be  printed  by  either  artificial  light  or  daylight,  and 
like  an  exposure  on  film  the  image  is  not  visible  and  it  must 
therefore  be  developed. 

The  process  is  simple,  but  like  all  others  it  requires  some  skill 
and  judgment,  both  of  which  can  easily  be  acquired  by  strict  ad- 
herence to  the  given  rules  and  formula. 

Velox  is  suitable  for  every  class  of  work  as  is  fully  demon- 
strated under  the  heading  of  “Surfaces  and  Grades”.  Velox 
should  not  be  confused  with  Bromide  or  any  other  paper ; it  has 
distinctive  qualities  of  its  own  which  have  never  been  success- 
fully imitated.  Many  improvements  have  recently  been  made  in 
its  manufacture  and  to-day  Velox  is  the  perfected  product  of 
years  of  experiment. 

The  different  surfaces  and  grades  in  which  it  is  manufactured 
enable  the  user  to  produce  good  prints  from  almost  any  negative, 
suiting  his  tastes  as  well  as  the  peculiar  requirements  of  the 
negatives. 

Velox  is  made  in  six  different  surfaces  and  divided 
Surfaces  broadly  into  two  grades  of  papers,  called  “Regular” 
and  and  “Special”.  As  these  trade  terms  have  refer- 

Grades:  ence  to  contrast  and  not  to  surface,  we  could  as 

well  say  “hard”  and  “soft”.  In  each  grade  will  be 
found  a variety  of  surfaces.  Choose  the  surface  which  best 
suits  you  and  which  will  harmonize  with  the  subject  of  your 
picture.  Select  your  negative,  remembering  that  the  “Regular” 

papers  develop  quickly,  and  are  adapted  to  negatives  lacking  con- 
trast, and  known  as  “thin”  or  “weak”  negatives.  “Special”  papers 
require  longer  development  (as  compared  with  the  “Regular”) 
and  are  for  use  with  “contrasty”  negatives.  Such  negatives  are 
also  referred  to  as  being  strong,  thick,  dense  or  hard. 

Royal  Velox  is  furnished  in  both  “Regular”  and  “Special”  but 
in  one  weight  only  and  differs  from  the  other  Velox  papers  in 
that  it  is  coated  on  a stock  having  a cream  tint,  just  a soft  mel- 
low tone  that  prevents  harshness  in  the  high  lights.  The  stock 
is  somewhat  heavier  than  the  usual  Velox  stock,  about  half  way 
between  the  single  and  the  double  weight. 


100 


PRINTING. 


Royal  Velox  prints  are  delightful  when  developed  in  the  ordi- 
nary way,  but  to  get  their  full  value  should  be  re-developed.  (See 
page  112. 

The  following  table  of  grades  and  weights  of  Velox  should 
be  an  aid  to  those  contemplating  using  this  paper. 


SURFACES,  WEIGHTS  AND  GRADES  OF  VELOX. 


Grade 

Surface 

Contrast 

* Velvet  Velox 

Semi-Gloss 

Special 

* Velvet  Velox 

Semi-Gloss 

Regular 

*Portrait  Velox 

Smooth  Matte 

Special 

Carbon  Velox 

Matte 

Regular 

Carbon  Velox 

Matte 

Special 

Rough  Velox 

Matte 

Special 

*Glossy  Velox 

Enameled 

Regular 

*Glossy  Velox 

Enameled 

Special 

Royal  Velox 

Matte 

Regular 

Royal  Velox 

Matte 

Special 

^Furnished  also  in  Double  Weight  Velox  ; double  weight  papers  require  no  mount 
and  when  printed  under  a mask  which  will  insure  a white  margin,  afford  a very 
artistic  effect. 

. Velox  prints  may  be  successfully  made,  using  day- 

Mampula-  light  for  exposure,  but  we  strongly  recommend 

tion:  that  artificial  light  be  used,  as  it  is  much  more  uni- 

form, and  it  will  therefore  be  easier  to  obtain 
satisfactory  prints.  If  daylight  be  used  select  a north  window,  if 
possible,  as  the  light  from  this  direction  will  be  more  uniform. 

Owing  to  its  sensitiveness  the  paper  should  be  handled  in  a very 
subdued  light,  otherwise  it  will  be  liable  to  fog.  Proper  precautions 
should  be  taken  to  pull  down  the  window  shades  and  darken  the  room 
sufficiently  during  manipulation.  To  test  your  working  light,  place 
an  un exposed  sheet  of  Special  Velox,  emulsion  side  up,  on  your 
work  table  in  the  same  position  that  your  developing  tray  occu- 
pies ; cover  one-half  of  it  with  a sheet  of  cardboard  and  let  it 
remain  there  for  two  minutes,  then  develop  it  face  down  for  45 
seconds.  If  the  half  of  the  sheet  which  was  uncovered  turns 
gray  or  black,  and  the  covered  portion  remains  white,  it  is  a 
positive  indication  that  the  light  you  are  using  is  too  strong.  If, 
however,  the  entire  sheet  remains  white,  your  light  is  safe.  Never 
handle  Velox  in  a light  that  will  not  stand  this  test.  If  the  light 
is  too  strong  for  printing  it  should  be  subdued  or  diffused  by  the 
use  of  several  thicknesses  of  white  tissue  paper.  In  the  following 
instructions  for  manipulating  Velox,  it  must  be  understood  that 
artificial  light,  preferably  gas  with  a Welsbach  burner,  will  be 
the  light  used.  A kerosene  lamp,  fitted  with  a round  burner, 


PRINTING. 


101 


(known  as  Rochester  burner)  may  be  used,  but  owing  to  the  de- 
cidedly yellow  light  this  affords,  a considerably  longer  exposure 
will  be  necessary  than  when  using  a Welsbach  light. 

The  comparative  exposures  with  Velox  using  various  sources 
of  light  is  as  follows : 


u 

u 

a 

> 

<L> 

Z | 

O u 

0 S 

E 

Vh 

e 

3 

rt 

be 

<u 

£ 

0 

V -M 

PQ 

A 

u 

IS  m 
3 S 

IS  M 

3 3 

O 

<u 

o 

cd 

4°. 

d° 

be 

to  ^ 

13 

U ZZ 

6 a 

id 

N 

c/5 

5 

£ 

™ vO 
cO 

> 

< 

4x5  or 
Smaller 

7 Inches. 

10  Seconds. 

20  Seconds. 

30  Seconds. 

40  Seconds. 

This  table  is  only  approximate,  as  owing  to  the  different  lights 
used  and  the  varying  densities  of  negatives  it  is  impossible  to 
give  an  absolute  rule.  It  serves,  however  as  a guide  to  enable 
the  beginner  to  approximate  the  correct  exposure.  From  this 
you  can  obtain  the  correct  time,  always  being  guided  by  the  rule 
as  to  the  time  of  development  given  on  page  105. 


T,  -p.  , Any  negatives  which  will  produce  good  results  with 

1 he  Kight  printing-out  paper  should  be  printed  on  Special, 

and  Wrong  while  Regular  Velox  is  adapted  to  negatives  which 
Paper  are  too  soft  for  other  photographic  papers,  or  when 
to  Use:  hard,  contrasty  prints  are  required. 

To  those  familiar  with  Velox  paper  it  is  an  easy 
matter  to  select  the  grade  which  is  best  suited  for  the  results  de- 
sired. The  novice,  however,  is  guided  usually  by  the  advice  of 
others  and  often  is  misled  into  using  a wrong  grade  of  Velox, 
thereby  failing  to  secure  the  results  expected  and  is  inclined  to 
believe  that  the  paper  is  at  fault. 

The  following  illustrations  will  act  as  a guide  to  the  best  paper, 
Regular  or  Special  Velox,  to  be  used  with  negatives  varying  as  to 
their  contrasts. 


102 


PRINTING . 


Fig.  1. 


Fig.  II. 

This  represents  a negative 
of  strong  contrasts.  This  kind 
of  negative  should  be  printed 
on  Special  Velox. 


Fig.  IV. 

This  represents  a print 
from  negative  shown  in  Fig. 
IT.  on  Regular  Velox  show- 
ing very  little  detail  in  high- 
lights. The  wrong  paper  for 
a contrasty  negative. 


This  represents  a weak 
negative,  one  with  little  con- 
trast between  the  highlights 
and  shadows,  and  is  therefore 
adapted  to  use  with  Regular 
Velox. 


Fig.  III. 

This  shows  the  result  of 
printing  from  a weak  or  flat 
negative  (Fig  I.)  on  Special 
Velox.  The  wrong  paper  to 
use. 


PRIN  TING. 


103 


Fig.  V. 

This  represents  a print  on 
Regular  Velox  from  negative 
shown  in  Fig  I.  The  right 
paper  for  a thin  or  flat  nega- 
tive. 


Fig.  VI. 

This  shows  result  of  print- 
ing on  Special  Velox  from 
negative  shown  in  Fig.  II. 
The  right  paper  for  a con- 
trasty negative. 


An  over-exposed  ana  over-developed  negative  (difficult  to 
illustrate)  is  dense  throughout,  necessitating  a very  long  expo- 
sure to  the  light  in  order  to  affect  the  paper. 

Such  a negative  is  best  printed  on  Regular  Velox. 

. . The  absolute  necessities  for  making  Velox  prints 

Printing  Re-  are  few  jn  number  and  simple  in  character.  Either 

quisites:  daylight  or  artificial  light  are  of  course  essential, 

also  developing  solutions  and  water  for  washing  the 
prints.  The  ordinary  printing  frame  is  used  in  making  exposures. 
The  artistic  possibilities  of  Velox  make  it  worthy  of  the  study 
of  all  photographers  and  a convenient  apparatus  for  measuring 
the  distance  from  the  light  and  for  adjusting  each  negative  to 
the  proper  angle  of  exposure  is  of  great  assistance.  As  an  aid 
we  recommend  the  Velox  Amateur  Printer,  not  only  to  help 
those  who  are  already  making  good  Velox  prints,  but  to  assist 
the  beginner  in  mastering  the  delightful  art  of  Velox  printing 
in  the  shortest  possible  time. 

The  construction  of  the  Velox 
Printer  is  simple  and  it  is  furnished 
with  attachments  for  use  either  with 
gas  or  electricity. 

Aside  from  suitable  light  and 
work  room,  you  will  require : 

3 trays,  preferably  enameled  iron 
(a  full  size  larger  than  the  prints 
to  be  made). 

1 printing  frame  (and  glass  to  fit, 
if  films  are  to  be  printed). 

1 4-oz.  graduate. 

1 bottle  Nepera  Solution. 


104 


PRINTING. 


1 bottle  Velox  Liquid  Hardener. 

1 lb.  Crystal  or  Granulated  Hypo. 

1 package  each  Regular  and  Special  Velox. 

Arrange  the  three  trays  before  you  on  your  work  table  in  this 
order : 


4 ozs.  Hypo. 

2 ozs.  Nepera 

16  ozs.  Water 

Solution 

Clean  Water 

1 oz.  Velox. 

4 ozs.  Water 

X Towel 

Liquid 

Hardener 

1 

2 

3 

In  the  center  of  the  above  spaces  we  have  indicated  the  solu- 
tion which  each  tray  should  contain  when  developing  either 
Regular  or  Special  Velox.  Do  not  be  too  sparing  of  the  amount 
of  solutions  used,  especially  of  your  fixing  bath  (Tray  No.  3)  ; if 
making  three  or  four  dozen  prints  (4x5)  use  a full  pint  (see 
formula,  page  107) ; and  do  not  keep  it  after  using,  as  a fresh 
bath  will  give  best  results. 

Proper  temperature  is  important  and  for  best  results  the  devel- 
oper should  be  yo  degrees  Fahr.  and  the  fixing  bath  and  wash 
water  50  degres  Fahr.  If  the  developer  exceeds  70  degrees  the 
prints  are  liable  to  fog  and  the  emulsion  soften.  If  too  cold, 
chemical  action  is  retarded,  resulting  in  flat,  weak  prints. 

You  are  now  ready  for  exposure  and  the  printing 
Printing:  frame  should  be  filled.  Place  the  sensitized  side  of 

the  sheet  of  Velox  against  the  film  or  dull  side  of 
the  negative.  The  paper  curls  * slightly,  the  sensitive  side  being 
concave.  An  absolute  test  is  to  bite  the  corner  of  the  sheet;  the 
sensitive  side  will  adhere  to  the  teeth. 

Place  the  printing  frame  the  correct  distance  from  the 
artificial  light  used,  holding  the  frame  away  from  the  burner  a dis- 
tance equal  to  the  diagonal  of  the  negative.  To  prove  that  the 
light  is  evenly  diffused  at  the  point  selected  for  exposure,  take  a 
piece  of  white  cardboard,  the  size  of  the  negative,  and  move  its 
position  with  reference  to  the  light,  until  you  find  the  shortest  dis- 
tance at  which  an  even  illumination  'is  secured.  A few  seconds 
exposure  will  be  required  when  printing  an  average  negative  on 
Velox.  We  would  suggest  before  making  the  first  exposure,  the 
cutting  of  a piece  of  Velox  paper  into  strips  about  an  inch  wide 
and  placing  one  of  them  over  an  important  part  of  the  nega- 
tive, make  the  exposure,  using  your  best  judgment  as  to  the  dis- 
tance from  the  light  and  the  time  of  printing.  Develop  it  and  if 
not  satisfactory  try  another  strip,  varying  the  time  as  indicated  by 
the  first  result.  When  the  desired  effect  is  secured,  you  can  make 
any  number  of  prints  from  the  same  negative,  and  if  the  time  of 
exposure,  distance  from  light  as  well  as  the  time  of  developing  are 
identical,  all  the  prints  should  be  equally  good.  By  comparing  your 
other  negatives  with  the  one  you  have  tested,  you  will  be  able  to 
make  a fairly  accurate  estimate  of  the  exposure  required  by  any 
negative. 


PRINTING. 


105 


After  taking  the  exposed  piece  of  paper  from  the  printing 
frame,  in  a safe  place  previously  selected,  it  is  ready  for  develop- 
ment. The  dry  print  should  be  immersed  face  up  in  the  developer 
(Tray  No.  1)  and  quickly  and  evenly  covered  with  the  solution. 
Regular  Velox  should  he  developed  to  the  proper  depth  in  from 
fifteen  to  twenty  seconds;  Special  about  thirty  seconds.  With  our 
prepared  liquid  developers,  the  addition  of  Bromide  of  Potassium 
is  unnecessary,  the  correct  proportion  being  in  the  solution.  As 
soon  as  the  image  has  reached  the  desired  depth  remove  from  the 
developer  to  tray  (No.  2)  and  rinse  for  a moment,  turning  the 
print  several  times,  then  place  it  in  the  acid  fixing  bath  (Tray  No. 
3)  keeping  the  print  moving  for  a few  seconds,  the  same  as  was 
done  when  rinsing,  so  as  to  give  even  and  thorough  fixing,  prevent- 
ing stains  and  other  troubles.  Leave  the  prints  in  this  solution  until 
thoroughly  fixed ; this  will  take  about  fifteen  minutes.  When  fixed 
remove  from  fixing  bath  and  wash  thoroughly  for  about  an  hour 
in  running  water,  then  dry.  After  drying,  prints  may  be  trimmed 
and  mounted. 

You  should  be  systematic  in  working,  remembering  that  cleanli- 
ness is  essential  in  photography.  Care  should  be  taken  to  prevent 
the  Hypo  in  any  way  getting  into  the  tray  containing  the  developer. 
Have  a clean  towel  when  beginning  the  work  and  rinse  and  wipe 
you  hands  each  time  after  you  have  handled  prints  in  Hypo  solution. 

Velox  requires  a special  developer  and  should  not 
be  used  with  one  made  for  plate  and  film  develop- 
ment only.  Nepera  Solution,  however  is  a universal 
developer — see  page  106.  Various  developing  agents 
are  used  in  the  production  of  Velox  prints  and  are 
marketed  under  different  trade  names  such  as  Amidol,  Ortol, 
Edinol,  Elon,  Metol  and  Hydroquinone,  etc.  Amidol  affords  a 
very  blue-black  tone,  but  owing  to  rapid  oxidation,  a fresh  solu- 
tion should  be  mixed  each  time  prints  are  to  be  made.  Ortol  and 
Edinol  afford  very  satisfactory  results.  It  has  been  proven,  how- 
ever, that  Elon  or  Metol  and  Hydroquinone  in  combination  yield 
the  very  best  results  on  Velox  when  used  in  the  proportion  given 
in  our  formula.  Owing  to  the  difficulty  many  have  in  securing 
absolutely  pure  chemicals  and  the  trouble  and  subsequent  loss  of 
material  to  those  attempting  to  compound  their  own  developers, 
we  recommend  the  use  of  our  liquid  Developers,  Nepera  Solution 
and  N.  A.  Velox  Liquid  Developer,  for  Velox  papers.  To  those 
who  prefer  to  prepare  their  own  solution,  we  advise  the  follow- 
ing formula : 

M.  Q.  DEVELOPER. 

(Dissolve  chemicals  in  the  order  named.) 


Notes  on 
Develop- 
ment: 


Water,  - 
Elon  or  Metol,  - 
Hydroquinone,  - 
Sulphite  Soda  (desiccated), 
Carbonate  Soda  (desiccated), 
10  per  cent,  solution  Bromide 
Potassium,  - 


Metric  System. 

- 10  ozs.=300  c.  C. 

7 grains=^2  gramme 
30  grains^  2 grammes 
1 10  grains^  7 grammes 
200  grains=13  grammes 

40  drops=i40  drops 


106 


PRINTING. 


This  solution  will  keep  indefinitely  if  placed  in  bottles  filled  to  the 
neck  and  tightly  corked.  It  should  be  used  full  strength  for  “Regu- 
lar Velox”,  but  can  be  diluted  with  equal  parts  of  water  when  “Spe- 
cial” papers  are  developed. 

This  is  an  excellent  ready-to-use  concentrated 
N.  A.  Velox  developer  for  Velox  papers.  Unlike  any  other 

Liquid  developer,  it  has  certain  qualities  which  make  it 
Developer:  unique  in  photographic  work.  N.  A.  (non-abrasion) 

means  that  all  abrasion  or  friction  marks,  to  which 
all  glossy  developing-out  papers  are  peculiarly  susceptible,  will 
be  prevented  by  this  solution.  Another  feature  is  the  guide  it 
gives  to  thorough  fixing — the  print  is  not  absolutely  fixed  until 
the  canary  yellow  color  entirely  disappears  by  fixing  in  a correct- 
ly prepared  Acid  Hypo  Bath. 

Developer  for  Regular  or  Special  Velox : 

N.  A Velox  Liquid  Developer,  2 ozs. 

Water,  ------  4 ozs. 

It  is  important  that  the  temperature  of  the  developing  solution 
should  be  70  degrees  Fahr.  In  summer,  if  found  necessary  to  cool 
the  developer,  do  not  place  ice  in  the  solution,  as  it  will  dilute  it. 
Place  the  tray  containing  developer  into  one  of  larger  size,  pack- 
ing ice  around  it.  N.  A.  DEVELOPER  SHOULD  NOT  BE 
USED  FOR  DEVELOPING  PLATES,  FILMS  OR  BROMIDE 
PAPERS. 

This  is  known  as  the  “universal”  developer  because 

Nepera  it  may  be  used  not  only  for  Velox,  but  Azo, 

Solution:  Bromide  paper,  films  or  plates.  Like  all  Nepera 

liquids,  it  is  a concentrated  solution  with  the  com- 
bination of  purest  chemicals  which  will  give  the  best  results.  It 
differs  from  N.  A.  Velox  Liquid  Developer  in  that  it  does  not 
possess  the  non-abrasion  and  fixing-guide  properties ; but  on  the 
other  hand,  when  used  in  combination  with  Nepera  Capsules,  it 
is  excellent  for  films  or  plates,  giving  negatives  of  the  quality 
best  suited  for  developing-out  paper. 

For  Regular  or  Special  Velox  use: 

Nepera  Solution,  -----  2 ozs. 

Water,  -------  A ozs. 

The  temperature  of  the  bath  should  be  70  degrees  Fahr. 

For  Bromide  papers  use : 

Nepera  Solution,  - - - - - 1 oz. 

Water,  - --  --  --  6 ozs. 


PRINTING. 


107 


For  Film  in  Kodak  Film  Tank  use  in  the  following  proportion : 

Nepera  Solution,  - - - - - y2  oz. 

Water,  12  ozs. 

Contents  of  one  Nepera  Capsule. 

Develop  N.  C.  Film  for  twenty  minutes. 

Develop  Eastman  Speed  Film  for  twenty-five  minutes. 

The  above  formula  may  also  be  used  for  dark-room  development 
if  desired,  in  such  case  the  development  of  course  being  continued 
until  the  proper  density  has  been  obtained. 

Sodium  Hypo-Sulphite  (or  Hypo,  as  commercially 
Fixing:  termed)  may  be  obtained  for  use  in  either  a granu- 

lated or  crystal  form.  Its  purpose  is  to  dissolve  the 
silver  salts  which  have  not  been  acted  upon  by  light.  The  im- 
portance of  this  chemical  is  evident,  but  it  is  probable  that  no 
part  or  process  of  photography  is  more  abused  than  that  of  cor- 
rectly preparing  a fixing  bath  and  properly  fixing  prints.  To 
secure  permanency,  prints  must  be  fixed  in  a fresh,  acid  fixing 
bath.  When  Hypo  is  first  dissolved  in  water,  the  temperature  of 
the  solution  is  materially  reduced.  It  is  important  that  the  tem- 
perature of  a fixing  hath  should  be  maintained  as  near  to  50 
degrees  Fahr.  as  possible.  Probably  more  prints  change  color 
from  insufficient  fixing  than  lack  of  washing,  so  these  points  should 
be  given  attention.  Have  plentv  of  solution  strong  enough  to 
thoroughly  fix  prints  in  at  least  15  minutes.  Always  use  the  acid 
hardener  in  the  bath,  as  it  will  overcome  the  tendency  of  the  fixing 
bath  to  cause  blisters  and  stains,  and  move  the  prints  about  for 
the  first  few  seconds  after  immersion  to  stop  the  action  of  the 
developer  at  once  over  the  entire  surface  of  the  print. 

Our  formula  for  preparing  the  Acid  Hypo  fixing  bath  is  as 
follows : 

Water,  - --  --  --64  ozs. 

Hyposulphite  of  Soda  (crystal  or  gran- 
ulated), ------  16  ozs. 

When  thoroughly  dissolved,  add  the  following  hardening  solu- 
tion, dissolving  the  chemicals  separately  and  in  the  order  named : 

Water,  - --  --  --  5 0zs. 

Sulphite  of  Soda  (desiccated),  - - ^2  oz. 

Acetic  Acid  No.  8 (containing  25  per  cent. 

pure  acid),  -----  3 ozs. 

Powdered  Alum,  -----  1 oz. 

This  solution  will  keep  if  placed  in  tightly  corked  bottles,  and 
one  pint  of  it  will  fix  one-half  gross  of  4x5  prints.  If  sulphite  and 
carbonate  of  soda  in  crystal  form  are  substituted  for  desiccated, 
double  the  quantities  mentioned  should  be  used. 


108 


PRINTING. 


Amateurs  will  find  it  advisable  to  use  our  prepared  solutions, 
and  the  concentrated  Velox  Liquid  Hardener  is  especially  recom- 
mended : 

.Water,  16  ozs.  Hyposulphite  of  Soda,  4 ozs. 

Velox  Liquid  Hardener,  - - - - 1 oz. 

When  fixing  Kodak  Velvet  Green  prints,  double  the  quantity  of 
water  used  in  the  tw©  preceding  formulae. 

NOTE — To  those  who  wish  to  purchase  the  Developer  and  Acid  Fixing  Bath  in 
dry  form,  we  recommend  our  tube  developers  and  Kodak  Fixing  Powders. 

The  finished  prints  must  be  entirely  free  from 
Notes  Hypo.  To  wash  a batch  of  100  4x5  prints,  using 

cn  two  trays  of  suitable  size  and  transferring  each 

Washing:  print  separately  from  one  tray  to  the  other,  chang- 

ing the  water  at  least  twelve  times,  will  take  a full  • 
hour  for  the  process.  In  running  water,  where  the  prints  can  be 
kept  constantly  moving  so  that  each  individual  print  has  a thor- 
ough washing,  from  one-half  to  one  hour,  according  to  the  num- 
ber of  prints,  will  be  required.  Prints  do  not  wash  if  piled  in  a 
bunch  in  a tray  and  the  water  simply  runs  in  at  one  end  of  the 
tray  and  out  the  other.  In  some  localities  where  there  is  an 
excessive  amount  of  iron  or  impurity  in  the  water,  the  whites  in 
the  prints  may  have  a slight  yellowish  tone  or  small  red  spots 
may  appear.  These  may  be  prevented  by  filtering  the  water  used 
through  several  thicknesses  of  muslin  or  one  thickness  of  canton 
flannel.  Prints  need  not  be  washed  any  longer  than  is  neces- 
sary to  completely  free  them  from  hypo.  The  temperature 
of  the  water  in  winter  should  be  kept  as  uniform  as  possible,  as 
ice  water  will  cause  blistering:  When  running  water  is  used 

for  washing,  the  stream  should  not  be  allowed  to  fall  directly  on 
the  prints  as  it  will  cause  breaks  in  the  fibre  of  the  paper,  produc- 
ing blisters.  Place  a tumbler  or  graduate  in  the  washing  tray 
and  allow  the  water  to  run  into  it  and  overflow  into  the  tray.  To 
determine  when  the  print  is  thoroughly  free  from  hypo,  the 
following  test  formula  may  be  successfully  employed : 

Caustic  Soda,  - 7 grs  Permanganate  of  Potash,  8 grs. 

Water  (distilled),  -----  8 ozs. 

This  solution  should  be  made  up  fresh  at  least  once  a month. 
Fill  a glass  with  pure  water  to  which  you  have  added  three  or 
four  drops  of  potash  solution.  Then  take  a couple  of  prints  from 
the  wash-water  and  allow  the  water  from  the  print  to  drip  into 
the  glass.  If  hypo  is  present,  the  violet  color  of  the  water  in  the 
glass  will  change  to  a slight  greenish  tint  in  from  five  to  seven 
minutes.  In  such  case  return  prints  to  the  wash-water  to  remain 
until  similar  tests  show  that  the  hypo  has  been  entirely  eliminated. 

After  prints  have  been  thoroughly  washed,  remove 
Drying:  from  the  wash-water  and  place  on  a clean  glass  in 

a pile  face  down  and  press  out  superfluous  water. 
Then  lay  out  separately,  face  down  on  cheese-cloth  stretchers. 
These  may  be  constructed  by  making  a frame  work  of  light  wood 
and  tacking  unbleached  cheese-cloth  tightly  over  it.  Prints  dried 
in  this  manner  will  curl  but  a trifle. 


PRINTING. 


109 


If  stretchers  are  not  to  be  had,  dry  the  prints  face  down  on 
clean,  uncolored  cloths,  or  towels,  which  are  free  from  lint. 

Never  dry  Velox  prints  between  blotters  or  on  papers.  They 
are  likely  to  stick  and  cause  much  annoyance. 

Glossy  Velox  prints  can  be  burnished  or  squeegeed. 
Enameled  Take  prints  from  the  wash-water  and  place  face 

Surface  down  on  a ferrotype  tin,  squeegee  into  absolute 

Paper:  contact  and  allow  to  become  bone  dry,  when  they 

will  peel  off  with  the  desired  luster.  If  the  tin 
has  been  in  use  for  some  time,  portions  of  prints  may  stick;  to 
prevent  this,  prepare  the  tins  as  follows : 

Dissolve  ten  grains  of  beeswax  in  one  ounce  of  benzine;  allow 
this  to  stand  for  a few  hours,  in  which  time  a precipitate  will  be 
formed.  The  clear  solution  should  be  used  for  polishing  the  tins, 
applying  to  the  surface  of  the  ferrotype  plate  with  a soft  cloth 
(canton  flannel).  When  the  surface  of  the  tin  has  been  thorough- 
ly covered  with  this  preparation  the  tin  should  be  polished  with 
a piece  of  dry  canton  flannel  to  remove  as  much  of  the  beeswax  as 
possible.  As  beeswax  varies  in  its  composition  to  a certain  ex- 
tent, the  solution  may  vary  somewhat  in  consistency,  so  that  an 
addition  of  benzine  may  be  necessary  to  permit  polishing  the  tins 
easily. 

Clean  the  tins  occasionally  with  scalding  water,  in  order  to  re- 
move any  particles  of  gelatine  which  may  remain  on  them  from 
former  prints. 

Prints  should  be  trimmed  to  size  desired  before 
Mounting:  mounting.  They  should  be  dry  and  perfectly  flat 

for  trimming,  and  a trimming  board  should  be 
used  instead  of  a knife  and  ruler,  for  with  the  board  absolutely 
true  edges  may  be  obtained. 

The  simplest  and  most  satisfactory  way  to  mount  prints  is  by 
using  Kodak  Dry  Mounting  Tissue,  as  by  this  process  the  prints 
are  mounted  in  absolute  contact  and  will  not  curl  even  on  the 
thinnest  mounts — especially  advantageous  in  multiple  mounting. 

Two  prints  may  be  mounted  back  to  back,  and  being  free 
from  curl  can  then  be  used  as  an  album  leaf. 

The  Kodak  Dry  Mounting  Tissue  is  dry  and  not  sticky  to 
handle,  mounting  is  accomplished  quickly  and  no  time  is  lost 
waiting  for  prints  to  dry  after  mounting. 

Any  print  may  be  mounted  with  the  tissue,  and  as  the  tissue 
is  water-proof  there  is  no  possibility  of  the  print  becoming  stained 
from  any  chemical  in  the  mount  stock. 

To  use  the  tissue,  lay  a print  on  its  face  and  tack  to  its  back 
a piece  of  tissue  of  the  same  size  by  applying  the  point  of  a hot 
iron  to  small  spots  at  opposite  ends. 

Turn  the  print  face  up  and  trim  print  and  tissue  to  desired  size. 
Place  in  proper  position  on  mount,  cover  the  print  with  a piece  of 
smooth  unprinted  paper  and  press  the  whole  surface  with  a hot 
flatiron;  press,  don’t  rub. 


110 


PRINTING . 


The  iron  should  be  just  hot  enough  to  siss  when  touched  with 
a wet  finger.  If  the  iron  is  too  hot  the  tissue  will  stick  to  the 
mount  and  not  to  the  print;  if  too  cold,  the  tissue  will  stick  to 
the  print  and  not  to  the  mount. 

Remedy — Lower  or  raise  the  temperature  of  the  iron  and  apply 
again. 

For  mounting  with  paste  the  following  plan  is  best  to  employ: 

After  prints  are  trimmed,  immerse  them  in  a tray  of  clean 
water,  allowing  them  to  soak  long  enough  to  become  thoroughly 
limp.  Remove  to  a good  sized  piece  of  clean  glass,  placing  them 
in  a pile  face  down.  Cover  with  a piece  of  clean  blotting  paper 
and  with  a roller  squeegee,  press  all  the  superfluous  water  from 
the  pile.  Then  with  a good  bristle  paste  brush  apply  a thin,  even 
coating  of  starch  paste.  Raise  the  print  by  taking  hold  of  the 
two  opposite  corners  and  turning  it  over,  place  in  position  on  the 
mount.  Lay  a clean,  dry  blotter  over  the  print  and  with  the  roller 
press  into  contact.  Any  lint  or  fuzz  from  the  blotter,  or  any  paste 
on  the  surface  of  the  print  should  be  immediately  removed  with 
a soft  sponge  or  dampened  cloth.  Any  imperfections  in  the  fin- 
ished print  may  be  corrected  by  spotting,  using  a fine  sable  brush 
and  spotting  color  of  India  ink.  Care  should  be  exercised  to 
select  mounts  which  harmonize  with  the  tone  of  the  print.  If 
Sepia  prints  are  to  be  mounted  any  shade  of  brown  or  some  of 
the  deeper  reds  may  be  used,  but  these  same  mounts  would  not  be 
suitable  for  black  and  white  tones.  For  the  black  and  white  prints 
any  shade  of  gray,  carbon  black,  buff  or  cream  color  may  be  suc- 
cessfully used. 

Double  weight  papers  may  be  mounted  solid,  but  are  best  used 
for  folder  effects.  A very  artistic  way  of  making  prints  with 
the  Double  Weight  is  to  use  a sheet  of  paper  considerably  larger 
than  the  negative  to  be  printed  from.  This  will  necessitate  the 
use  of  a larger  frame  (6^2  x 8^4  or  8x10).  Have  a piece  of 
clear  glass  the  full  size  of  the  frame  and  fasten  your  negative  to 
the  center  of  this  glass  with  strips  of  gum  paper,  cut  a mask  of 
opaque  paper  the  full  size  of  your  glass  and  from  the  center  cut 
an  opening  at  least  one-quarter  of  an  inch  smaller  than  the  size 
of  the  negative.  Place  the  mask  in  the  printing  frame  between  the 
paper  and  the  negative,  then  print  and  develop  the  exposed  paper 
in  the  usual  way.  This  will  give  a print  with  a very  wide  white 
margin  and  when  thoroughly  dried  and  straightened,  by  using  an 
embossing  board,  an  imprint  or  counter-sunk  margin  about  half  an 
inch  around  the  edges  of  the  print  will  give  a fine  etching  or 
engraved  effect.  Enclosed  in  a folder  mount  made  of  cover  paper 
of  desirable  tone,  you  have  as  artistic  a result  as  can  be  produced. 

. The  process  of  making  prints  on  Velox  Post  Cards 

Finishing  js  identically  the  same  as  that  for  making  Velox 
Velox  Post  Prints.  The  cards  are  sensitized  on  one  side  only 

Cards:  and  the  reverse  side  is  printed  to  conform  with  the 

U.  S.  Postal  regulations.  A printing  frame  and  a 
glass  a size  larger  than  the  negative  should  be  used,  and  the  cut- 
outs found  in  each  package  of  cards  may  be  used  for  masking  the 
negative.  Place  the  mask  between  the  negative  and  the  sensitized 


PRINTING . 


1 1 ! 

side  of  the  Post  Card  and  the  result  will  be  that  when  exposed, 
developed  and  fixed  the  same  as  an  ordinary  sheet  of  Velox 
paper,  you  will  have  your  picture  at  one  end  of  the  card  sur- 
rounded with  a white  edge  of  the  part  which  was  protected  by 
the  opaque  mask.  Your  negative  should  be  selected  the  same  as 
when  printing  with  Velox  paper  and  both  Regular  and  Special 
Post  Cards  should  be  used.  Where  contrast  is  desired,  the  Regu- 
lar Velvet,  Regular  Glossy,  or  Regular  Royal  Post  Cards  will 
give  the  best  results  and  should  always  be  used  with  thin  nega- 
tives ; the  Special  Velvet,  Special  Portrait,  Special  Glossy  and 
Special  Royal  Post  Cards  should  be  used  for  stronger  negatives 
and  when  soft  effects  are  desired. 

Effective  and  artistic  work  may  be  done  on  Velox 
Double  Post  Cards  by  double  printing.  By  this  process 
Printing:  gray  borders  and  ground  may  be  produced.  The 

work  requires  careful  and  exact  cutting  of  the 
necessary  opaque  masks  and  accurate  registry  of  the  cards  when 
printing.  Provide  a number  of  pieces  of  clear  glass,  cut  to  size 
5x7  (old  negatives  from  which  the  emulsion  has  been  thorough- 
ly cleaned  by  soaking  in  a solution  of  hot  water  and  sal-soda  are 
suitable),  also  a few  sheets  of  opaque  paper  the  same  size  (5x7). 
From  one  of  these  sheets  make  a mask  as  shown  in  Fig.  1.  (Page 
112.) 

Measure  from  edges  A and  B a space  five-eighths  of  an  inch 
wide,  then  cut  an  opening  2x3  inches  through  which  your  nega- 
tive and  card  are  to  be  exposed.  Fasten  the  negatives  with  strips 
of  adhesive  paper  to  one  of  the  pieces  of  clear  glass,  placing  that 
portion  to  be  printed  directly  in  under  the  opening  in  the  mask. 
Adjust  glass,  negative  and  mask  in  printing  frame,  lay  on  the 
Velox  Post  Card,  sensitized  side  down,  so  that  one  end  covers 
the  opening  in  the  mask.  Be  careful  to  have  the  edges  A and 
B of  glass,  mask  and  card  fit  flush  against  the  corresponding  sides 
of  the  printing  frame.  Expose  to  printing  light,  giving  correct 
time  required  for  a perfect  print,  remove  the  entire  outfit  from 
the  printing  frame  and  insert  glass  and  matt  No.  2,  which  you 
will  have  previously  prepared,  as  shown  in  Fig.  2. 

From  another  piece  of  opaque  paper  5x7  cut  an  opening  3x5 
inches  and  measure  exact  so  as  to  leave  margins  of  one-quarter 
inch  on  the  sides  A and  B.  Gum  this  matt  securely  to  another 
glass,  then  cut  a piece  of  opaque  paper  2*4  x 3*4  inches  and  gum 
this  in  a clear  space  at  a distance  of  exactly  one-half  an  inch  from 
edges  A and  B.  Place  this  entire  outfit  in  printing  frame,  lay  on 
Velox  Post  Card,  previously  exposed  under  No.  1 matt,  fit  edges 
flush  into  the  corner  of  the  frame  and  expose.  This  second  ex- 
posure should  be  just  enough  to  produce  the  desired  tint,  governing 
time  by  grade  of  Velox  used.  If  the  exposure  has  been  too  great 
the  border  will  be  dark,  if  under  exposed  the  border  tint  will  be 
light.  A little  practice  may  be  necessary  in  order  to  secure  the 
tint  desired. 

Now,  if  you  have  made  all  measurements  accurately  and  expo- 
sure and  development  have  been  correct,  you  will  have  on  a finished 
post  card  your  picture  2 x 3 in  size  surrounded  by  a gray  border 


112 


PRINTING . 


one  quarter  of  an  inch  wide  on  top  and  one  side,  and  one  half  inch 
wide  at  bottom  and  one  and  one-half  on  other  side.  The  tint  of 
this  border  should  be  a slaty  gray  and  should  harmonize  with  the 
black  tone  of  your  print. 

Other  forms,  such  as  ovals  and  circles,  may  be  made  and  the 
process  for  their  making  is  the  same  as  already  described. 


No.  1 

B 


No.  2 
B 


There  are  occasions  when  it  is  desirable  to  modify 
Sepia  Tones  the  tone  Qf  Velox  prints,  in  order  to  secure  some 
on  Velox:  effect  more  in  keeping  with  the  subject  than  the 

original  color  produced  by  development  only.  The 
Sepia  Tone  is  permanent  and  may  be  secured  in  various  ways,  but 
we  will  describe  only  two  of  these : the  first  known  as  the  hypo- 
alum  process,  and  the  second,  Velox  Re-development.  The  hypo- 
alum  process  is  a slow  and  somewhat  uncertain  way  of  obtaining 
good  results  and  consists  of  a solution  of  hypo  and  powdered 
alum  in  boiling  water,  into  which,  when  cooled,  the  prints  are 
immersed,  and  left  until  the  desired  tone  has  been  reached.  The 
process  requires  from  one  to  twelve  hours  and  is  uncertain  in 
exact  results.  The  Velox  Re-development  process  will  give  the 
best  results  in  a much  shorter  time,  yielding  equally  pleasing  and 
permanent  tones.  Prints  on  any  grade  or  surface  of  Velox  afford 
most  pleasing  tones  when  re-developed,  but  re-development  is  per- 
haps specially  advantageous  for  prints  on  Royal  Velox,  as  the 
process  brings  out  and  accentuates  the  full  value  of  the  soft, 
creamy  stock  upon  which  Royal  Velox  is  coated;  the  finished 
prints  possessing  an  almost  indescribable  softness  and  delicacy. 

Velox  prints  of  any  grade  or  surface,  which  have  been  evenly 
and  thoroughly  fixed  and  washed  will  give  desirable  results  with 
the  Re-developer,  but  some  subjects,  such  as  marines  and  snow 
scenes,  are  best  rendered  in  the  black  and  white.  Landscapes, 
autumn  scenes,  and  portraits  are  given  greater  artistic  values  by 
the  warmth  of  tone  which  the  Re-developer  affords. 

A package  of  Re-developer  consists  of  a box  of  14  Capsules 
and  a bottle  of  solution.  Each  Capsule  contains  chemicals  which 


X Q 
O £ 


><  Q 
O u 
os  c* 


PRINTING. 


1 13 


require  only  the  addition  of  a certain  quantity  of  water  to  make 
a bleaching  bath  for  the  reduction  of  the  print  before  re-develop- 
ment. The  liquid  contained  in  the  bottle  is  highly  concentrated 
and  should  be  used  carefully,  the  entire  contents  of  a 4-oz.  bottle 
being  sufficient  to  re-develop  about  four  hundred  4x5  Velox 
prints.  It  is  important  that  the  prints  should  have  been  thoroughly 
washed  so  that  no  trace  of  hypo  remains.  Placing  the  black  and 
white  print  in  the  bleaching  solution,  let  it  remain  until  all  trace  of 
black  has  disappeared  from  the  shadows;  it  should  then  be  re- 
moved and  rinsed  thoroughly  in  fresh  water,  then  placed  in  re- 
developing solution,  where  the  faint  image  immediately  changes  to 
a warm  brown  tone,  gradually  deepening  until  all  its  former  bril- 
liancy returns,  but  changed  to  a Sepia  tone  instead  of  black  and 
white.  A final  washing  is  then  given  the  print,  the  whole  process 
requiring  only  a short  time,  so  the  advantages  of  using  this  over 
the  hypo-alum  process  are  quite  evident. 

Velox  Re-developer  will  also  produce  excellent  Sepia  tones  on 
any  Bromide  or  gas-light  paper;  the  age  of  the  print  does  not 
seemingly  make  any  difference  in  the  tones  obtainable.  Best  re- 
suts  are  obtainable  from  prints  which  have  a good  bluish-black 
tone,  rather  than  a green  or  olive  tone,  such  as  is  produced  by 
the  use  of  too  much  bromide.  Both  the  bleaching  and  the  re-de- 
veloping baths  will  retain  their  strength  for  some  time,  if  kept 
in  well  stoppered  bottles.  If  the  print  shows  a tendency  to  blister, 
it  doubtless  comes  from  insufficient  hardening  of  the  black  and 
white  prints.  Remedy — use  a fresh  and  absolutely  correct  acid 
hypo  bath  at  a temperature  of  50  or  60  degrees,  fixing  the  prints 
20  to  25  minutes.  Too  strong  a solution  of  Re-developer  or  too 
long  immersion  in  this  solution  will  also  cause  blisters.  After 
re-development  and  before  the  final  washing  the  prints  may  be 
immersed  in  a hardening  bath  composed  of  Velox  Liquid  Hard- 
ener, 1 ounce ; water,  16  ounces.  This  will  also  correct  any  tend- 
ency to  blister. 


How  to 
Make 
Prints 
from  Wet 
Negatives: 

them  to  soak 
velop  and  fix 


The  negative  must  be  thoroughly  washed  and  freed 
from  any  trace  of  hypo.  Immerse  a piece  of  Velox 
paper  in  clean  water  for  a few  seconds,  then  placing 
it  on  the  film  side  of  the  wet  negative  squeegee  it 
carefully  so  as  not  to  break  the  film.  Expose  with- 
out the  use  of  a printing  frame.  After  exposure 
place  both  negative  and  paper  in  water,  allowing 
for  a moment  before  trying  to  separate  them.  De* 
the  print  in  the  usual  way. 


How  to 
Make 
Good 
Starch 
Paste: 


Ordinary  gloss  starch  dissolved  in  just  enough 
cold  water  to  make  a thick  solution  is  prepared, 
and  enough  boiling  water  poured  into  it  so  it  thick- 
ens in  a clear,  transparent  jelly.  Set  asidt  and 
when  cool  remove  the  skin  which  foims  and  use 
the  clear  paste. 


1 14 


PRINTING . 


Rub  the  surface  of  the  dry  print  with  a tuft  of 
cotton  wet  with  wood  alcohol.  Do  not  rub  hard 
enough  to  break  the  surface  of  the  film  and  be 
careful  to  have  the  print  on  some  level  surface, 
such  as  a piece  of  glass. 

N.  A.  Velox  Liquid  Developer  entirely  prevents 
abrasion  marks. 

After  a careful  perusal  of  the  above  instructions  you  should 
be  able  to  produce  satisfactory  results  on  any  grade  of  Velox 
paper. 

Causes  of  consulting  the  following  causes  of  failure  you 

,T  „ will  probably  be  able  to  locate  any  trouble  you  may 

Non-Success:  have  had 

Prints  Are  Too  Black. 

Over-exposure. 

Over-development. 

Insufficient  Bromide  of  Potassium. 

Negative  too  weak  or  thin. 

Perhaps  wrong  grade  of  paper  used;  try  Regular  Velvet  Velox. 

Prints  Are  Too  Light,  Lack  Detail. 

Under-exposure. 

Negative  too  dense  for  Regular  paper. 

Try  Special  Velvet,  or  Special  Portrait  Velox. 

Grayish  Whites  Throughout  Entire  Print. 

Chemical  or  light  fog. 

Insufficient  Bromide  of  Potassium  in  developer.  Old  paper. 

Grayish  Mottled  or  Granulated  Appearance  of  Edges  or  Entire 
Print. 

Under-exposure,  forced  development. 

Old  paper. 

Paper  kept  in  damp  place. 

Moisture. 

Chemical  fumes,  Ammonia,  etc. 

Illuminating  or  coal  gas. 

Greenish  or  Brownish  Tones  Sometimes  Mottled. 

Developer  too  old  or  too  weak. 

Excess  of  Bromide  of  Potassium. 

Over-exposure. 

Greenish  Yellow  Stains  Noticed  When  N.  A.  Velox  Liquid 
Developer  Has  Been  Used. 

Under-exposure  and  forcing. 

Canary  Yellow  Stains  Produced  When  N.  A.  V.  L.  D.  Has 
Been  Used. 

Fixes  out  entirely  in  correctly  prepared  acid  Hypo  bath.  (See 
page  107  for  formula.) 

The  entire  disappearance  of  this  color  insures  correct  fixing. 


To  Remove 
Friction 
Marks  from 
Glossy  Velos: 
Prints: 


PRINTING. 


115 


Brown  or  Red  Stains. 

Old  or  oxidized  developer.  (Never  use  developer  after  it  is 
much  discolored  or  muddy.)  Imperfect  fixing. 

Developer  too  warm. 

Fixing  bath  lacks  sufficient  acid  and  prints  were  not  kept  mov- 
ing to  allow  even  fixing.  (See  page  107.) 

Purple  Discolorations.  (Not  Frequent.) 

Velox  paper  has  been  used  as  a printing-out  paper. 

Incomplete  fixing. 

Round  White  Spots. 

Air-bells  on  the  surface  of  paper. 

To  avoid,  develop  prints  face  up,  brushing  off  any  air-bells 
that  may  form. 

Round  or  Irregular  Dark  Spots. 

Caused  by  air-bells  forming  on  the  surface  of  print  when 
placed  face  down  in  fixing  bath,  and  failing  to  keep  prints 
in  motion. 

White  Deposits  All  Over  Surface  of  Prints. 

Milky  Hypo  bath. 

If  print  is  thoroughly  washed  and  deposit  is  removed  before 
drying  it  does  no  harm. 

Correct  fixing  bath  by  adding  more  No.  8 Acetic  Acid. 

Picture  Good,  But  Surface  Covered  With  Black  Marks. 

Abrasion  marks  (See  page  106.) 

Blisters. 

Prints  have  been  creased  or  broken  while  washing. 

Do  not  allow  water  from  the  tap  to  fall  directly  on  the  prints. 

Too  strong  acetic  acid  used  in  hardener. 

Too  great  difference  between  temperature  of  solution  and 
wash-water. 

Fixing  bath  lacks  sufficient  hardener. 

Never  use  a plain  Hypo  Fixing  bath;  always  acidify  with  Velox 
Liquid  Hardener. 

Blisters  Occurring  During  Re-Development. 

(See  page  113.) 

Freaks. 

Picture  develops  irregularity  and  appears  to  be  covered  with 
greasy  streaks  and  finger  marks  and  gives  the  impression 
that  there  are  spots  on  the  paper  which  have  never  been 
coated.  Of  all  complaints  received  regarding  Velox  paper, 
none  are  caused  by  any  condition  more  annoying  than  this 
“freak”  trouble.  It  is  annoying  to  the  photographer  be- 


PRINTING. 


cause  he  feels  sure  the  fault  is  in  the  paper,  and  annoying 
to  us  because  we  know  that  the  fault  lies  in  incorrect  solu- 
tions. We  publish  herewith  a half-tone  of  this  curious 
effect.  It  is  in  warm  weather  when  the  humidity  is  great 
that  these  “freaks”  most  frequently  occur. 


Developed  in  M.  Q.,  half  as 
strong  as  that  advised  in 
instruction  sheet. 


Developed  in  M.  Q.,  strength 
as  advised  in  instruc- 
tion sheet. 


Undoubtedly  the  paper  absorbs  moisture  unevenly  and  in  cer- 
tain spots  becomes  repellent  to  the  action  of  an  incorrect 
developer.  In  making  up  a developing  solution  it  is  abso- 
lutely essential  that  pure  chemicals  be  used,  and  as  Velox 
requires  a bath  that  contains  nearly  twice  as  much  Car- 
bonate of  Soda  as  Sulphite  of  Soda,  it  is  easy  to  see  that 
any  mistake  made  in  the  proportion  of  either  chemical 
would  be  apt  to  cause  trouble.  The  remedy  for  “freaks” 
is  to  throw  out  your  developer  and  mix  a fresh  solution, 
and,  if  necessary,  use  it  stronger. 

It  sometimes  happens  that  one  package  of  Velox  will  freak  in 
a certain  developer  while  another  will  not.  This  is  not 
proof  that  the  paper  is  defective,  but  simply  shows  that 
one  package  has  been  kept  under  different  conditions  from 
the  other  at  some  time  since  it  left  our  factory,  and  be- 
cause of  this  is  more  susceptible  to  the  action  of  an  incor- 
rect developer.  Both  packages,  however,  will  give  good 
results  if  the  solution  used  is  absolutely  correct. 

Yellowish  Whites  When  Other  Than  N.  A.  Has  Been  Used. 

Stain  all  over  prints  is  result  of  under-exposure  and  forcing. 

Prints  not  kept  moving  for  the  first  seconds  after  immersion 
in  the  hypo  fixing  bath. 

Too  weak  developer. 

Insufficient  washing  and  fixing. 

Iron  in  wash-water — may  come  from  rust  in  water  pipes. 

Sea  air  will  affect  Velox,  causing  yellow  whites,  so  packages 
should  not  be  left  open  and  prints  should  be  developed 
immediately  after  exposure. 


PRINTING 


117 


The  permanency  of  Velox  prints  has  never  been 
Permanency:  questioned.  Permanency  of  any  Velox  prints  de- 

pends upon  the  thoroughness  of  manipulation.  It 
is  beyond  question  that  with  correct  developer  freshly  prepared 
and  with  thorough  fixing  and  washing,  Velox  prints  will  be 
absolutely  permanent.  Many  dealers  have  sample  prints  that 
were  sent  to  them  years  ago  and  have  exposed  them  continually 
to  every  conceivable  atmospheric  condition.  This  is  an  unanswer- 
able argument  in  favor  of  Velox  permanency. 


KODAK  VELVET  GREEN. 

Kodak  Velvet  Green  is  a developing-out  paper  and  like  Velox 
the  image  is  invisible  after  exposure  to  light,  until  a developing 
solution  has  been  applied. 

The  natural  color  of  Kodak  Velvet  Green  prints  is  a rich,  true 
green  secured  by  the  use  of  a one-solution  developer. 

As  much  of  the  beauty  of  a photographic  print  depends  upon 
the  color  or  tone  in  which  it  is  rendered,  a paper  such  as  Kodak 
Velvet  Green  will  be  especially  appreciated  for  marine  and  land- 
scape subjects. 

Its  use  gives  pleasant  relief  from  the  cold  tones  of  the 
ordinary  black  and  white  print  and  affords  every  opportunity  for 
the  production  of  permanent  prints  of  delightful  tone  and  quality 
by  a very  easy  and  simple  process. 

Kodak  Velvet  Green  is  made  in  one  surface  (semi-gloss)  and 
one  printing  speed  but  two  weights  of  paper  stock,  single  and 
double.  Although  the  paper  is  sensitive  to  white  light  and  should 
be  properly  protected  when  handled,  exposure  of  prints  should 
be  made  to  daylight  rather  than  to  artificial  light. 

With  a negative  of  average  density,  the  exposure  by  subdued 
daylight  (a  north  light  is  preferable  as  it  is  more  uniform),  will 
be  about  20  seconds.  A strong  or  dense  negative  will  of  course 
require  a longer  exposure  than  a weak  negative.  Full  develop- 
ment is  recommended  to  produce  the  full  brilliance  of  color  and 
quality. 

By  comparing  your  other  negatives  with  the  ones  you  have 
tested,  you  will  be  able  to  make  a fairly  accurate  estimate  of  ex- 
posure required  by  any  negative. 


DEVELOPING  SOLUTION  FOR  KODAK  VELVET  GREEN. 

Nepera  Solution,  - - - - - 1 oz. 

Water,  -------  4 ozs. 

After  taking  the  exposed  piece  of  paper  from  the  printing 
frame,  in  a safe  place  previously  selected,  it  is  ready  for  develop- 
ment. The  dry  print  should  be  immersed  face  up  in  the  developer 
and  quickly  and  evenly  covered  with  the  solution. 


118 


PRINTING. 


If  the  time  of  exposure  and  the  temperature  of  the  solution 
are  correct,  the  print  should  fully  develop  in  45  seconds  although  a 
somewhat  longer  immersion  may  he  necessary  and  not  harmful 
Full  development  of  prints  on  Kodak  Velvet  Green  is  the  one  im- 
portant feature  in  connection  with  their  manipulation,  for  on  this 
depends  the  final  tone.  In  case  of  over-exposure  and  under-de- 
velopment prints  will  assume  a yellowish-green  color,  which  is 
objectionable.  The  true  green  tone,  the  feature  of  this  paper,  will 
be  obtained  by  careful  attention  to  exposure  and  development  of 
prints. 

As  soon  as  the  image  has  reached  the  desired  depth  remove 
from  the  developer  to  tray  and  rinse  for  a moment,  turning  the 
print  several  times,  then  place  it  in  the  acid  fixing  bath. 

Kodak  Velvet  Green  prints  may  be  fixed,  washed  and  mounted 
similarly  to  Velox.  See  pages  107-108. 

To  those  who  prefer  to  prepare  their  own  solutions,  we  advise 
the  use  of  the  M.  Q.  formulae  on  page  106. 

NOTE.— N.  A.  Velox  Liquid  Developer  or  any  developing  solution  containing 
Potassium  Iodide  should  not  be  used. 

PRINTING-OUT  PAPERS. 

Printing-out  papers  are  so  called  because,  unlike  a negative, 
the  image  appears  without  development,  and  they  require  only 
toning  and  fixing.  Printing-out  papers  are  simple  to  handle,  and 
are  used  by  both  professionals  and  amateurs. 

Solio  is  a Gelatino-Chloride  Printing-out  paper,  with  which 
the  silver  chloride  and  other  salts  are  held  in  position  in  gelatine. 

In  the  printing-out  paper  the  image  “prints-out”  at  once.  Be- 
fore it  is  toned  and  fixed  it  is  in  the  same  condition  as  a proof 
received  from  the  photographer.  The  chemical  action  clears  the 
high  lights  and  shadows,  gives  the  proper  tone  and  “fixes”  the 
print,  i.  e.,  makes  it  permanent. 

The  process  of  toning  and  fixing  may  be  combined  in  one  bath 
or  may  be  done  separately.  For  convenience  we  recommend  the 
combined  bath  to  the  amateur,  but  care  should  be  exercised  not 
to  overwork  the  bath.  This  bath  will  continue  to  give  satisfac- 
tory tones  long  after  the  gold  has  been  exhausted.  This  toning 
without  gold,  however,  is  not  permanent  and  no  attempt  to  econ- 
omize by  overworking  the  toning  bath  should  be  made,  as  dis- 
appointment will  be  the  inevitable  result. 

Keep  your  paper  in  a dry  place.  Do  not  expose  it 
The  Paper:  to  moisture  or  the  fumes  of  coal  gas,  it  being  very 

sensitive  to  either. 

When  you  have  taken  the  print  from  the  printing 
Untoned  frame  it  is  still  sensitive,  containing  as  it  does, 
Prints:  most  of  the  original  silver  chloride,  and  should  you 

expose  it  to  the  light  it  would  soon  blacken  all 
over.  Keep  your  prints,  after  removing  from  the  printing  frame, 
in  a dark  box  until  you  are  ready  to  tone.  Handle  as  little  as  pos- 
sible and  do  not  allow  the  fingers  to  come  in  contact  with  the 
surface  of  the  paper. 


PRINTING . 


119 


Method  of 
Printing: 


Open  the  printing 
frame  and  lay  the 
negative  back  down 
upon  the  glass  (the 
back  is  the  shiny  side).  [Note — 

When  printing  from  glass  plate  nega- 
tives no  glass  is  needed  in  the  print- 
ing frame,  the  plate  itself  fitting  into 
rabbet  of  frame.]  Place  upon  this  a 
piece  of  Solio  paper,  face  down.  Re- 
place the  back  of  the  frame  and  secure  the  springs.  The  back  is 
hinged  to  permit  of  uncovering  part  of  the  print  at  a time  to  in- 
spect it  without  destroying  its  register  with  the  negative.  The 
operation  of  putting  in  the  sensitive  paper  must  be  performed  in 
a subdued  light,  that  is  to  say,  in  an  ordinary  room,  as  far  as 
possible  from  any  window.  The  paper  not  used  must  be  kept 
covered  in  its  envelope. 

The  printing  frame,  when  filled  as  directed,  is  to  be  laid  glass 
side  up  in  the  strongest  light  possible  (sunlight  preferred)  until 
the  light,  passing  through  the  negative  into  the  sensitive  paper, 
has  impressed  the  image  sufficiently  upon  it.  The  progress  of  the 
printing  can  be  examined  from  time  to  time  by  removing  the 
frame  from  the  strong  light  and  opening  one-half  of  the  hinged 
back,  keeping  the  other  half  fastened  to  hold  the  paper  from 
shifting.  The  printing  should  be  continued  until  the  print  is  a 
little  darker  tint  than  the  finished  print  should  be. 

As  soon  as  the  print  is  finished  place  it  in  a drawer  or  box 
where  it  will  be  protected  from  the  light  until  your  batch  of 
prints  is  ready  for  toning. 


For  the  combined  bath  the  printing  should  be  car- 
How  Deep  ried  about  two  shades  deeper  than  you  desire  the 
to  Print:  finished  prints  to  be  as  they  will  lose  considerable 

in  toning  and  fixing.  For  the  separate  bath  about 
one  shade  deeper. 

Prints  will  keep  three  or  four  days  before  toning,  providing 
they  are  stored  in  a dark  box. 


TONING  WITH  THE  COMBINED  BATH. 

For  one  just  starting  to  tone  prints,  we  would  recommend  the 
combined  bath.  This  will  be  by  far  the  most  simple  in  manipula- 
tion (the  toning  and  fixing  being  done  in  one  bath)  and  with 
proper  attention  to  the  instructions  you  should  be  able  to  secure 
prints  of  a soft,  rich  tone,  ranging  in  color  from  a warm  sepia 
to  a dark  purple.  Solio  Combined  Toning  and  Fixing  Solution 
may  be  had  of  any  Kodak  dealer. 

Place  prints  without  previous  washing  in  the  following  com- 
bined toning  and  fixing  bath. 

2 ozs.  Solio  Toning  Solution. 

4 ozs.  cold  water. 


120 


PRINTING. 


Pour  the  toning  solution  into  a suitable  tray  and  immerse  the 
prints  one  after  the  other.  Five  or  six  prints  can  be  toned  to- 
gether if  they  are  kept  in  motion  and  not  allowed  to  lie  in  con- 
tact. Turn  the  prints  all  face  down  and  then  face  up  and  repeat 
this  all  the  time  they  are  toning.  The  prints  will  begin  to  change 
color  almost  immediately  from  reddish  brown  to  reddish  yellow, 
then  to  brown  and  finally  to  purple.  The  change  will  be  gradual 
from  one  shade  to  another  and  the  toning  should  be  stopped  when 
the  print  gets  the  shade  desired. 

Six  ounces  of  the  diluted  toning  solution  will  tone  two  dozen 
4x5  prints;  after  that  a new  solution  should  be  made  same  as 
before. 

When  the  proper  shade  has  been  attained  in  toning  bath  the 
prints  should  be  transferred  for  five  minutes  to  the  following  salt 
solution  to  stop  the  toning. 

Salt,  - --  --  --  loz. 

Water,  - --  --  --32  ozs. 

Then  transfer  the  prints  to  the  washing  tray  and  wash  one 
hour  in  running  water,  or  in  sixteen  changes  of  water. 

The  prints  are  then  ready  for  mounting  or  they  can  be  laid  out 
and  dried  between  blotting  papers. 

If  desired  the  amateur  can  mix  his  own  toning  bath,  but  in  so 
doing  should  exercise  great  care  in  getting  pure  chemicals  and 
using  exactly  the  proper  propoitions. 


STOCK  SOLUTION. 


A Hypo-sulphite  of  Soda,  - 

- 

8 ozs. 

Alum  (crystals),  - 

- 

6 ozs. 

Sugar  (granulated), 

- 

2 ozs. 

Water,  ----- 

- 

80  ozs. 

Dissolve  above  in  cold  water , and 

When  dissolved  add  Borax,  - 

- 

2 ozs. 

Dissolve  in  hot  water, 

- 

8 ozs. 

Let  stand  over  night  and  decant  clear  liquid. 


STOCK  SOLUTION. 

B Pure  Chloride  of  Gold,  - IVz  grains.* 

Acetate  of  Lead  (Sugar  of  Lead),  - 64  grains. 

Water,  ------  8 ozs. 

Solution  B should  be  shaken  up  before  using  and  not  filtered. 

*Or  double  the  quantity  of  chloride  of  gold  and  sodium. 

To  tone  fifteen  4x5  prints  take: 

Stock  Solution  A,  -----  8 ozs. 

Stock  Solution  B,  - - - - 1 oz. 

Place  prints  without  previous  washing  into  the  above. 


PRINTING 


12 


Tone  to  desired  color  and  immerse  prints  for  15  minutes  in 
following  Salt  Solution  to  stop  the  toning : 

Salt,  - - - - - - - loz. 

Water,  -------  32  ozs. 

The  extra  fixing  bath  should  be  used  to  ensure  thorough  fixing. 
After  the  salt  bath,  give  one  change  of  cold  water  and  fix  for 
10  minutes  in  the 


EXTRA  FIXING  BATH. 


Hypo-sulphite  of  Soda, 
Sulphite  of  Soda  (crystals), 
Borax,  - 

Water,  - 


1 oz. 

60  grains. 
14  oz. 

20  ozs. 


Wash  one  hour  in  running  cold  water  or  in  sixteen  changes  of 
cold  water,  when  prints  may  be  mounted. 

The  combined  bath  must  be  started  cold,  not  above  50°  Fahr., 
and  must  not  be  allowed  to  rise  to  temperature  above  60°  Fahr. 
This  condition  can  be  obtained  by  placing  a piece  of  ice  in  the 
bath  when  toning.  If  the  bath  is  too  warm,  you  will  get  yellow 
prints  with  a greenish  cast  in  the  half-tones. 

Use  a thermometer  and  keep  it  in  toning  bath  all  the  time. 

The  combined  bath  is  an  acid  solution.  The  borax  neutralizes 
only  the  excess  of  acid  in  the  alum.  Any  attempt  to  neutralize 
the  bath  will  precipitate  the  alum. 

The  combined  bath  should  not  be  used  a second  time. 

If  troubled  with  white  spots  or  blotches  on  prints,  clean  trays 
with  nitric  acid  or  sulphuric  acid  and  water. 


TO  CUT  GOLD. 

Those  who  desire  to  cut  their  own  gold  can  make  Stock 
Solution  B as  follows  for  the  combined  bath: 

Metallic  Gold,  - - - 1 pennyweight,  (24  grains). 

Nitric  Acid,  - - - 1 dram. 

Muriatic  Acid,  - - - 3 drams. 

When  gold  is  cut  (or  dissolved)  in  above  solution  add  water  48 
oz.  and  then  add  sufficient  Bi-Carbonate  of  Soda  to  almost  neutral- 
ize, leaving  the  solution  slightly  acid.  Filter,  and  add  384  grains 
Acetate  of  Lead. 


TONING  WITH  THE  SEPARATE  BATH. 

After  taking  the  prints  from  the  print  frame,  im- 
Washing  merse  them  one  at  a time  in  a tray  of  running 
the  Prints:  water.  (When  washing  and  toning  prints  use  trays 

that  have  never  come  in  contact  with  Hypo,  as  the 
least  trace  of  that  chemical  will  cause  dark  brown  stains  that 
cannot  be  gotten  rid  of.)  Keep  them  moving  so  that  all  shall 
receive  an  equal  amount  of  washing. 


122 


PRINTING. 


When  you  place  a print  in  the  water  the  soluble  silver,  or  that 
portion  not  used  to  form  the  image,  dissolves  and  is  washed  out; 
this  forms  with  other  substances  in  the  water  a new  combination 
which  can  easily  be  detected  by  its  white,  milky  appearance.  Prints 
to  be  properly  washed  should  remain  in  the  running  water  until  this 
has  entirely  disappeared.  Should  you  not  have  running  water,  they 
can  be  washed  by  using  two  trays  and  transferring  the  prints  (one 
at  a time)  from  one  to  the  other,  changing  the  water  each  time. 

This  should  be  done  quickly  at  first  but  after  you  have  washed 
out  most  of  the  free  silver,  the  changes  may  be  made  five  minutes 
apart.  The  temperature  of  the  water  should  be  as  near  60°  Fahr. 
as  possible. 

. Tone  in  a plain  gold  bath,  using  about  1 gr.  of  gold 

^he  Toning  to  43  ozs<  Qf  water.  Neutralize  by  adding  a 

Bath:  saturated  solution  of  borax,  bi-carbonate  of  soda 

or  sal-soda. 

This  should  be  made  up  at  least  one-half  hour  before  using; 
this  gives  the  chemicals  a chance  to  harmonize.  When  making 
the  toning  bath,  first  measure  the  water  and  pour  into  the  tray 
or  dish  you  are  to  use,  then  add  the  gold.  Now  take  a piece  of 
red  Litmus  paper  (this  is  very  sensitive  to  acid  or  alkali)  and 
place  in  the  solution.  Then  add  the  borax  solution  drop  by  drop 
(this  is  a strong  alkali  and  should  be  kept  in  a bottle,  the  cork  of 
which  has  a small  slit  in  it  allowing  the  solution  to  drop,  not  run 
out)  just  enough  to  turn  the  Litmus  paper  blue  in  five  minutes. 
This  will  make  the  bath  almost  neutral,  i.  e.,  slightly  alkaline. 
The  bath  is  now  ready  for  use.  Should  the  prints  tone  fast 
enough  in  the  high  lights,  or  light  parts  of  the  prints,  leaving 
the  shadows,  or  dark  parts,  very  red,  and  when  finished  have  a 
muddy  (not  clear)  appearance,  that  indicates  that  you  have  used 
too  much  borax  or  alkali.  On  the  other  hand,  had  the  Litmus 
paper  remained  its  original  color  (red)  that  would  indicate  that 
the  bath  was  acid  and  that  you  had  not  used  sufficient  alkali.  With 
the  bath  in  that  condition  your  prints  would  not  tone  but  bleach, 
lose  their  brilliancy  and  become  flat. 

When  toned,  immerse  prints  in  running  water  where  they  may 
remain  until  all  are  ready  for  fixing. 

If  running  water  cannot  be  had  put  prints  into 

SHORT  STOP: 

Salt,  -------  1 oz. 

Water,  -------  1 gal. 

If  there  is  a large  batch  of  prints  to  be  toned  do  not  allow  prints 
to  lie  in  short  stop  solution.  Put  them  into  a tray  containing 
clear  water  where  they  may  remain  until  they  are  ready  for  fixing 

FIXING  BATHS. 

Fix  twenty  minutes  in 

Water,  - --  --  --1  gal. 

Hypo,  - --  --  --13  ozs. 

Solio  Hardener,  - - - - - ^ oz. 

Solio  Hardener  may  be  had  at  any  dealers. 


PR  IN  TING. 


123 


To  mix  with  Hydrometer,  take  water  1 gal.,  add  sufficient  Hypo 
to  test  25  gr.  to  the  oz.  and  add  y2  oz.  of  Solio  Hardener. 

On  account  of  its  simplicity  and  cheapness,  we  advise  the  Solio 
Hardener  Fixing  Bath,  but  give  the  alum  fixing  bath  for  the  bene- 
fit of  those  who  prefer  it. 


ALUM  FIXING  BATH. 

Hypo-sulphite  of  Soda,  - 
Alum  (Crystals),  - - - - - 

Sulphite  of  Soda  (Crystals),  - - 

Water,  ------- 


6 ozs. 
2y2  ozs. 
A oz. 
70  ozs. 


When  dissolved  add  34  oz.  of  borax  dissolved  in  10  ozs.  hot 
water. 

This  fixing  bath  must  be  made  about  10  hours  before  use.  As 
it  keeps  indefinitely  before  use  it  may  be  made  up  in  large 
quantities. 

After  fixing  in  one  of  the  foregoing  baths,  wash  1 hour  in 
running  cold  water  or  in  16  changes  of  cold  water,  keeping  prints 
separated  so  the  water  may  have  a chance  to  eliminate  the 
chemicals. 

The  separate  toning  bath  should  tone  in  6 or  7 
Details:  minutes. 

Tone  by  transmitted  light  for  the  high  lights  and 
half  tones  only,  paying  no  attention  whatever  to  the  shadows. 

We  recommend  a neutral  bath  and  advise  the  use  of  Squibb’s 
red  litmus  to  test  with. 

If  the  bath  tones  uneven  or  streaky,  add  water  until  it  tones 
in  8 or  10  minutes,  and  make  it  slightly  alkaline. 

One  gallon  of  fixing  bath  is  sufficient  for  one  gross  4x5  size 
Solio  or  its  equivalent. 

Prints  allowed  to  stand  over  night  in  water  are  liable  to  turn 
yellow;  they  should  therefore  be  mounted  as  soon  as  washed. 

To  make  Solio  Hardener : 

Chloride  of  Aluminum,  3 ozs. 

Bi-Sulphite  of  Soda,  - 2F>  ozs. 

Cold  Water,  ------  12  ozs. 

Put  both  chemicals  in  the  water  and  shake  until  dissolved. 


Few  amateurs  care  to  go  to  the  expense  or  trouble 
Glossy  Gf  burnishing  their  own  prints,  but  they  can  readily 

Prints:  obtain  a beautiful  glace  finish  in  a simple  manner 

by  drying  prints  on  ferrotype  plate  in  the  follow- 
ing manner: 

1.  Clean  the  ferrotype  plate  with  hot  water  each  time  it  is 
used.  Polish  with  a soft  cloth  until  plate  is  absolutely  free  from 
dirt  or  specks  of  any  description.  Swab  with  a tuft  of  soft  cloth 
or  cotton  batting,  wet  with  a solution  composed  of  benzine  1 


124 


PRINTING. 


oz.,  paraffine  10  grs.  Rub  dry  with  a clean  cloth,  and  polish  with 

a chamois  skin  or  very  soft  cloth.  Use  a soft  brush  to  remove 

particles  of  dust  from  plate. 

2.  Lay  the  wet  print  on  the  ferrotype  plate.  It  must  be  in 

perfect  contact  to  produce  a uniform  glossy  surface.  This  con- 

tact is  better  secured  by  avoiding  air  bells  in  laying  the  print  down 
than  by  endeavoring  to  expel  them  by  heavy  pressure — light  roll- 
ing with  a print  roller  (with  cloth  between)  is  all  that  is  re- 
quired— heavy  pressure  being  liable  to  make  prints  stick  in  spots. 

3.  If  prints  are  to  remain  unmounted,  when  surface  is  almost 
dry  brush  over  the  back  (while  still  on  the  plate)  with  a thin 
solution  of  white  glue. 

4.  When  “bone”  dry  strip  the  print  from  the  plate. 

If  print  is  to  be  mounted  we  advise  the  use  of  Kodak  Dry 
Mounting  tissue.  See  page  109. 


The  Story  Book. 


Platinum  Papers. 

The  simplicity  of  platinum  printing  will  prove  a revelation  to 
the  amateur  photographer  who  imagines  that  the  process  must 
be  difficult  because  so  much  employed  by  advanced  workers.  As 
a matter  of  fact,  platinum  printing  presents  no  more  difficulties 
than  the  ordinary  blue  print  process  so  familiar  to  the  novice. 

With  the  exception  of  carbon,  where  any  colored  pigment  may 
be  used,  no  printing  process  affords  so  wide  a range  in  tone 
value,  from  a pure  sepia  and  velvety  black  down  through  all  the 
intervening  tones  to  a shade  scarcely  darker  than  the  pure  white 
and  buff  of  the  paper  support.  It  is  this  ability  to  preserve  the 
most  delicate  half  tones  that  affords  the  charming  atmospheric 
effect  so  evident  in  all  good  platinum  prints. 

Platinum  prints  are  absolutely  permanent,  consisting  of  a de- 
posit of  metallic  platinum  on  a pure  paper  support,  and  a properly 
manipulated  print  will  retain  its  quality  so  long  as  the  paper 
support  itself  exists. 

Platinum  paper  does  not  demand  a negative  of  special  qualities, 
a negative  that  will  yield  a good  print  on  any  paper  will  answer 
equally  well  for  platinum. 

The  fact  that  platinum  paper  is  a semi-developing  out  paper, 
and  that  the  image  is  only  partially  visible  when  printing  is  com- 
plete, has  lead  many  to  believe  that  much  experience  is  necessary 
to  judge  of  the  proper  printing  depth.  As  a matter  of  fact,  a 
few  trial  exposures  with  negatives  of  varying  density  will  afford 
all  the  experience  necessary  and  the  making  of  prints  of  proper 
and  uniform  quality  becomes  a simple  matter. 

All  platinum  papers  are  exceedingly  sensitive  to  dampness  and 
for  this  reason  are  packed  by  the  manufacturers  in  sealed  cans 
or  tubes,  each  package  containing  a small  piece  of  asbestos  sat- 
urated with  calcium  chloride  to  absorb  any  moisture  in  the  tube. 

Platinum  paper  will  keep  for  months  in  a cool  dry  place, 
and  in  warm  climates,  if  not  for  immediate  use,  is  best  kept  in  a 
refrigerator. 

As  platinum  paper  is  capable  of  rendering  the  slightest  half 
tone  it  is  naturally  quite  sensitive  to  light,  much  more  so  than 
the  gelatine  and  collodion  printing  out  papers,  and  should  be 
handled  in  a subdued  light,  not  out  of  doors  or  close  to  a window. 

When  printing,  remove  only  sufficient  paper  from  the  tube  to 
fill  the  frames  in  immediate  use,  packing  away  the  remainder  as 
received  and  placing  the  cover  on  the  can  or  tube. 

In  printing,  the  paper  is  placed  in  contact  with  the  negative 
in  the  printing  frame  in  the  ordinary  manner  and  exposed  to  day- 
light, direct  sunlight  will  do  no  harm  and  is  preferred  to  shade 
printing  by  many  prominent  workers. 

The  back  of  the  frame  may  be  opened  to  note  the  progress  of 
printing,  but  in  so  doing  turn  your  back  to  the  window  to  avoid 
sunning  the  print. 


126 


PLATINUM  PAPERS. 


Moisture  must  be  guarded  against  as  it  is  the  greatest  enemy 
of  platinum  paper,  and  to  secure  clear  brilliant  prints,  the  paper, 
printing  frame  and  negatives  must  be  absolutely  dry. 

When  the  manipulation  has  been  fully  mastered,  certain 
modifications  will  suggest  themselves  for  special  purposes. 

The  temperature  of  the  developing  bath  has  a decided  influence 
on  both  the  tonality  and  the  color  of  the  image. 

Damp  paper  will  yield  a print  of  a brownish  black  color,  with 
a tendency  to  mealiness,  therefore  in  taking  up  platinum  printing, 
follow  the  manufacturer’s  instructions  exactly. 

ANGELO  SEPIA  PLATINUM  PAPER. 

Angelo  Sepia  Platinum  Paper,  like  all  Platinum 
Printing:  papers,  is  a semi-developing-out  paper,  the  image 

being  only  partially  visible  when  printed.  The 
full  depth  and  brilliance  is  attained  by  immersion  in  the  Angelo 
Sepia  Developing  Solution.  Place  paper  in  printing  frame  with 
the  sensitive  yellow  side  in  contact  with  the  negative. 

Print  in  sunlight  until  the  half  tones  are  visible.  Print  deep 
for  the  high-lights ; pay  no  attention  to  the  shadows.  As  the 
paper  is  quite  sensitive,  it  should  be  loaded  into  the  frame  and 
inspected  during  printing  in  a subdued  light. 

The  image  will  come  up  stronger,  more  like  the  ordinary  print- 
ing out  paper  than  most  platinum  papers,  but  development  is 
slower;  this  is  an  advantage  as  it  affords  much  greater  control 
during  development. 

Good  results  can  be  obtained  from  any  good  average  negative. 

Immerse  print  face  up  in  the  cold  developing  bath 
Developing:  prepared  as  follows: 

Dissolve  the  contents  of  the  package  of  Angelo 
Sepia  Salts  in  the  amount  of  boiling  water  indicated  on  the 
package. 

For  the  True  Sepia  Tone  add  one  ounce  of  Angelo  Sepia 
Solution  to  each  ten  ounces  of  the  above  bath. 

For  Warmer  Tones  add  more  of  the  Sepia  Solution. 

After  the  Sepia  Solution  has  been  added  to  the  developer 
allow  the  mixture  to  boil  for  a few  moments. 

When  cold  the  bath  is  ready  for  use. 

Allow  the  prints  to  remain  in  the  bath  until  full  strength  and 
brilliancy  have  been  obtained. 

It  is  obvious  that  an  under-exposed  print  will  not  develop  full 
strength  and  that  an  over-exposed  one  will  develop  too  dark. 

Retain  the  developing  solution  for  future  use,  allowing  the 
solution  to  settle,  and  making  use  of  the  clear  portion  only. 
When  the  greater  portion  of  the  old  developer  has  been  used, 
make  up  a fresh  supply  in  the  usual  manner  and  add  to  the  old 
bath. 

It  is  not  necessary  to  filter  the  bath,  so  long  as  only  the  clear 
portion  is  used. 

Always  keep  away  from  the  strong  light. 


PLATINUM  PAPERS . 


127 


When  the  print  is  fully  developed,  immerse  it  face 
down  in  the  clearing  bath  prepared  as  follows : 

Water,  -----  80  ozs. 

Muriatic  Acid,  c.  p.,  4 drams. 

The  prints  must  go  through  three  clearing  baths  and  remain 
at  least  five  minutes  in  each  bath. 

Separate  prints  each  time  they  are  washed. 

Be  careful  not  to  carry  any  of  the  acid  bath  on  your  fingers 
into  the  developing  bath. 


Clearing 

Bath: 


EASTMAN  ETCHING  SEPIA  PLATINUM. 


A new  hot  bath  paper  of  unusual  brilliancy,  combined  with 
extreme  richness  of  tone  and  coated  on  a mellow  buff  stock.  Made 
in  both  smooth  and  rough  surfaces.  Print  same  as  for  Angelo 
Sepia. 

Immerse  print,  face  up,  in  a developing  bath  pre- 
Developing:  pared  as  follows: 

Dissolve  the  contents  of  a package  of  Eastman 
E.  S.  Developer  in  the  amount  of  hot  water  indicated  on  the  pack- 
age. The  following  will  also  give  good  results : Dissolve  four 

ounces  Neutral  Oxalate  of  Potash  in  25  ounces  of  hot  water  and 
add  ounce  of  Citric  Acid.  Use  hot  at  150°  Fahr. 

Prints  should  remain  in  the  developer  until  the  shadows  are 
clear  and  strong. 


Clearing 

Bath: 


When  the  print  is  fully  developed,  immerse,  with- 
out rinsing,  face  down,  in  a clearing  bath  prepared 
as  follows : 


Water,  64  ozs. 

Muriatic  Acid,  c.  p.,  - - - - 1 oz. 

Commercial  Acid  must  not  be  used , and  we  recommend  the  c.  p. 
acid  bearing  our  trade  mark. 

The  prints  must  go  through  four  clearing  baths,  prepared  as 
above,  remaining  for  a least  five  minutes  in  each  bath,  and  sep- 
arated occasionally. 

Separate  prints  each  time  they  are  changed. 


EASTMAN  ETCHING  BLACK  PLATINUM. 


A black  and  white  platinum  with  a soft  pleasing  warmth,  found 
in  no  other  platinum  paper — decidedly  away  from  the  ordinary  cold 
blue  black.  Perfectly  simple  cold  development.  Two  surfaces, 
smooth  and  rough. 

Print  same  as  for  Angelo  Sepia  and  Eastman  Etching  Sepia 
Platinum. 


128 


PLATINUM  PAPERS. 


Clearing 

Bath: 


Washing: 


Drying: 


Immerse  print,  face  up,  in  a developing  bath  pre- 
Developing:  pared  as  follows: 

Dissolve  the  contents  of  a package  of  Eastman 
E.  B.  Developer  in  the  amount  of  warm  water  indicated  on  the 
package.  The  following  will  also  give  good  results : Dissolve 

four  ounces  Neutral  Oxalate  of  Potash  in  16  ounces  of  warm 
water  and  add  one  dram  of  Oxalic  Acid.  Use  when  cold. 

Prints  should  remain  in  the  developer  until  the  shadows  are 
clear  and  strong. 

See  formula  for  Eastman  Etching  Sepia  Platinum. 
Page  127. 

After  the  prints  have  been  fully  cleared,  wash  for 
one-half  hour  in  running  water,  or  in  six  changes  of 
water,  separating  them  one  by  one  in  each  change. 

Prints  may  be  suspended  by  one  corner  to  dry,  or 
they  may  be  placed  between  blotters  to  remove  the 
greater  part  of  the  moisture,  and  then  replaced  be- 
tween clean  dry  blotters  to  dry  under  light  pressure. 

Avoid  the  use  of  the  ordinary  and  colored  blotters,  use  only 
those  specially  made  for  photographic  use. 

The  following  are  the  most  important  points  in 

Note:  connection  with  the  manipulation  of  Platinum  paper 

and  should  receive  careful  attention. 

Keep  paper  dry  at  all  times  before  development. 

When  placing  paper  on  negatives  or  examining  prints,  do  not 
expose  to  strong  light;  weak  daylight  or  gaslight  will  answer. 

Keep  up  strength  of  developer,  and  do  not  use  it  too  cold. 

Slide  prints  under  developer,  face  up,  to  prevent  the  formation 
of  air  bells. 

Place  prints  directly  from  the  developer  into  the  acid  clearing 
bath  without  previous  washing. 

See  that  clearing  of  prints  is  thorough.  The  last  clearing  bath 
should  be  free  from  any  yellowness. 

Use  chemically  pure  muriatic  acid  for  clearing  bath. 

If  developer  crystalizes  on  surface  of  prints,  causing  numerous 
fine,  dark  spots  to  appear  during  development,  reduce  the  strength 
of  solution  by  adding  from  one  to  two  ounces  of  water  to  twelve 
ounces  of  developer. 


Enlarging. 

Most  amateurs  are  aware  that  beautiful  enlargements  of  almost 
any  size  can  be  made  from  Kodak  or  any  small  negatives,  but 
are  possessed  of  the  idea  that  the  process  of  enlarging  is  intricate 
and  requires  a great  deal  of  apparatus  and  technical  skill.  As  a 
matter  of  fact  the  making  of  an  enlargement  is  simple  and  re- 
quires practically  no  apparatus  beyond  the  Kodak. 

In  the  following  pages  we  clearly  describe  the  characteristics 
and  uses  of  Bromide  and  Velox  Papers  and  demonstrate  how  the 
Kodak  and  many  of  the  other  hand  cameras  may  be  utilized  for 
the  making  of  enlargements.  No  attempt  is  made  to  describe 
the  more  intricate  and  costly  apparatus  demanded  by  the  profes- 
sional, but  we  confine  ourselves  to  the  demands  of  the  average 
amateur. 

Bromide  Paper  is  a pure  photographic  paper  coated 
Bromide  with  a sensitive  compound,  composed  principally  of 

Paper:  bromide  of  silver  and  white  gelatine  and  similar  to 

the  emulsion  of  the  ordinary  dry  plate  or  film,  only 
of  much  less  rapidity,  permitting  manipulation  by  a stronger  light 
than  would  be  safe  for  plates. 

Bromide  of  silver  gives  a pure  black  tone  when  exposed  to 
light  and  then  developed,  the  unexposed  portions  of  the  paper 
coated  with  this  emulsion  remain  perfectly  white  except  with 
Royal  Bromide  paper  which  is  coated  on  a delicate  cream  stock. 

If  the  beginner  will  consider  the  sheet  of  bromide  paper  as 
practically  the  same  as  a slow  dry  plate,  and  that  a positive  image 
is  produced  by  photographing  through  the  negative  on  to  the  sheet 
of  Bromide  paper  with  the  negative  and  sheet  of  paper  some  dis- 
tance apart  instead  of  in  contact,  as  in  making  an  ordinary  print,  a 
clearer  understanding  of  the  process  will  be  afforded. 

Bromide  paper  has  remarkable  keeping  qualities  both  before 
and  after  exposure,  and  the  developed  print  when  carefully  fixed 
and  washed  is  as  permanent  as  the  paper  support  itself. 

An  enlargement,  in  the  usual  sense,  is  a positive 
What  is  image  or  picture  obtained  by  permitting  rays  of  light 

an  En-  to  pass  through  a negative,  then  through  a lens  and 

largement?  focusing  on  a sheet  of  sensitive  bromide  paper;  the 
size  of  the  projected  image  depending  upon  the  dis- 
tance between  lens  and  sheet,  the  further  the  sheet  is  from  the 
lens  the  greater  the  enlargement,  which  will  be  readily  understood 
by  reference  to  diagram  on  page  130. 

An  enlarged  negative  can  also  be  made  in  the  same  manner 
by  using  a small  positive,  the  projected  image  focusing  on  a dry 
plate  instead  of  on  bromide  paper. 


130 


ENLARGING . 


. Most  of  the  present  models  of  the  Kodak  can  be 

Utilizing  the  utilized  for  enlarging,  excepting  only  those  models 
Kodak  for  not  permitting  the  removal  of  the  back  and  the 
Enlarging:  racking  back  and  forth  of  the  lens. 

The  use  of  Kodaks  such  as  the  No.  2 Flexo  and 
No.  2 Bulls-Eye  for  enlarging  is  limited,  as  the  distance  between 
the  focal  plane  and  the  lens  is  fixed  and  prevents  the  making  of 
enlargements  beyond  a certain  size.  The  folding  Kodaks  (except 
the  No.  1 and  No.  1A)  and  the  Cartridge  Kodaks,  including  the 
Screen  Focus  Kodak,  lend  themselves  particularly  well  to  enlarging. 

The  method  of  utilizing  these  instruments  is  shown  in  the 
following : 

In  enlarging  by  daylight  with  the  Kodak  all  that  is  required 
is  a room  with  a north  window  preferred,  through  which  the 
light  can  enter  without  obstruction  from  trees  or  near  by  buildings. 


A room  with  one  window  is  preferable  as  this  of  course  lessens 
the  difficulty  in  excluding  white  light.  It  must  be  remembered 
that  although  Bromide  paper  is  much  less  sensitive  than  a dry 
plate,  an  instant’s  exposure  to  white  light  will  ruin  it. 

The  window  should  be  blocked  up  to  exclude  white  light  by 
means  of  a closely  fitting  wooden  shutter,  or  any  perfectly  opaque 
substance  such  as  heavy  card  or  press  board  fastened  in  place  with 
small  nails.  An  opening  will  of  course  have  to  be  made  in  this 
shutter  to  receive  the  Kodak  holding  frame  as  will  appear  in  the 
following  diagrams  : 

Figure  1 illustrates  the  frame  for  holding  the  Kodak  when 
used  as  an  enlarging  camera.  This  frame  is  simply  a shelf  with 
a projection  to  hold  the  Kodak  and  negative  firmly  in  position,  and 
can  easily  be  constructed  with  the  simplest  tools. 

The  Shutter  to  exclude  light  from  the  window,  and  to  which 
the  holding  frame  is  attached,  need  be  of  wood  only  where  the 


ENLARGING. 


131 


frame  is  attached,  the  remainder  of  the  window  may  be  blocked  up 
with  pressboard  or  opaque  cloth.  This  will  lessen  the  expense  and 
also  facilitate  the  putting  in  place  and  removal  of  the  frame. 

Figure  2 shows  the  Kodak  and  holding  frame  in  profile  and 
illustrates  method  of  holding  Kodak  in  position  with  rubber  bands. 


132 


ENLARGING . 


To  place  negative  in  position  for  enlarging,  procure  two  pieces  of 
plain  glass,  the  same  size  as  the  negative,  or  that  will  fit  opening  A 
in  the  holding  frame;  see  that  the  glasses  are  without  flaws  and  per- 
fectly clean,  place  the  negative  to  be  enlarged  from,  between  the 
glasses,  binding  ends  of  glasses  with  a small  piece  of  adhesive  bind- 
ing paper  to  ensure  the  negative  lying  flat.  Then  insert  glasses 
in  groove  A,  with  the  negative  upside  down  and  with  the  dull  side 
facing  into  the  room. 

Next  remove  the  back  from  the  Kodak  (as  it  will  not  be  used 
while  enlarging),  and  place  the  Kodak  in  the  holding  frame  as 


Fig.  3. 


shown  in  Fig.  3,  securing  the  Kodak  to  the  frame  with  heavy  rub- 
ber bands  as  shown;  by  using  rubber  bands  the  Kodak  is  held 
firmly  in  position  and  without  danger  of  marring  or  scratching 
the  leather  covering. 

When  it  is  the  intention  to  use  one  of  the  Folding  Pocket 
Kodaks  the  holding  frame  should  be  constructed  so  as  to  allow  a 
distance  of  at  least  three  inches  between  negative  and  back  of 
Kodak,  as  this  will,  with  the  Kodak  Portrait  attachment  in  place, 
increase  the  focal  capacity  of  the  Kodak  sufficiently  to  permit 
the  making  of  two  time  enlargements  from  the  whole  negative. 

In  many  instances  the  actual  picture  is  contained  in  a com- 
paratively small  portion  of  the  negative,  and  in  such  cases  all  un- 
used portions  of  the  negative  may  be  covered  with  a mask  of  post 
office  or  black  paper. 

If  any  light  enters  from  between  the  Kodak  and  the  holding 
frame  it  may  be  excluded  by  throwing  an  opaque  cloth  over  the 
frame. 


ENLAR  GING. 


133 


The  Cartridge  Kodaks  and  the  Screen  Focus  Kodak  may  be 
utilized  in  practically  the  same  manner  as  will  appear  by  referring 
to  Fig.  4.  The  Kodak  is  easily  held  firmly  in  place  as  shown  in 
the  diagram. 

Any  Plate  Camera  of  the  so-called  cycle  type  may  be  used  for 
enlarging  by  making  use  of  the  holding  frame. 

The  negative  in  such  cases  is  best  secured  in  position  by  utiliz- 
ing an  old  plate  holder  with  the  center  septum  and  dark  slides 
removed,  insert  the  negative  in  the  plate  holder  upside  down  and 
with  the  dull  side  toward  the  lens,  placing  the  holder  in  the  back 
of  the  camera  in  the  usual  manner. 

If  ground  glass  in  the  back  of  the  camera  intercepts  too  much 
light  it  should  be  removed. 


Fig.  4. 


Unless  the  window  you  intend  to  use  commands  an  unobstructed 
view  of  the  horizon,  a piece  of  heavy  white  cardboard  about  15 
inches  long  and  12  inches  wide  or  larger  should  be  placed  just 
outside  the  window  at  an  angle  of  45°  to  reflect  the  light  from 
the  sky.  (See  Fig.  2.) 

To  ascertain  if  the  reflector  is  in  the  proper  position  place  a 
sheet  of  ground  glass  over  the  opening  in  the  holding  frame.  If 
properly  placed  the  ground  glass  will  be  evenly  illuminated.  No 
harm  will  result  if  the  sun  shines  on  the  ground  glass  and  reflector, 
provided  it  strikes  evenly;  if  the  light  is  too  strong  the  lens  can 
be  stopped  down. 

The  easel  or  copy-board  for  holding  the  Bromide  paper  may 
be  constructed  as  shown  in  Fig.  3,  or  it  may  be  modified  to  suit 
individual  needs  or  conditions. 

In  cases  where  the  window  is  some  distance  from  the  floor,  or 
the  window  surface  is  exceedingly  large,  the  Kodak  holding  frame 


134 


ENLARGING , 


may  be  placed  directly  on  the  lower  sill  and  the  light  excluded  by 
covering  the  balance  of  the  window  as  previously  suggested.  The 
whole  apparatus  is  so  exceedingly  simple  that  modifications  to  suit 
individual  requirements  can  easily  be  made. 

Care  must  be  observed  to  keep  the  easel  front  exactly  parallel 
with  the  negative. 

The  best  negative  for  enlarging  from  is  one  not  too  dense  or 
too  weak  but  with  good  detail  in  the  shadows  and  transparent  in 
the  high-lights. 

Depends  upon  the  focus  of  the  lens  and  the  dis- 
The  Size  of  tance  of  the  easel  or  copy-board  from  the  negative, 
the  En-  Even  when  using  the  No.  4A  Folding  Kodak 

largement  with  its  lens  of  8$4  inch  equivalent  focus,  a six 
times  enlargement  will  only  require  a distance  of 
five  feet  from  the  lens  to  the  Bromide  paper,  so  it  will  be  seen 
that  only  a small  space  is  necessary  for  all  ordinary  requirements. 

Any  lens  that  will  make  a good  negative  may 
The  Lens:  be  used  for  enlarging.  The  proper  size  (focal 

length)  of  the  lens  depends  entirely  upon  the 
size  of  the  negative  to  be  enlarged  from  and  not  at  all  upon  the 
size  of  the  enlargement  to  be  made. 

The  lens  that  made  the  negative  will  be  suitable  for  enlarging 
from  that  negative.  If  the  lens  will  cover  the  negative  it  will 
make  an  enlargement  from  it  of  any  size.  Any  Kodak  lens  is 
suitable  for  enlarging  from  negatives  made  with  the  Kodak  to 
which  it  is  fitted. 

Having  placed  the  negative  in  position,  and  taking 
Making  the  care  that  the  package  of  bromide  paper  is  well  pro- 
Exposure:  tected,  set  the  shutter  for  time  and  press  the  re- 

lease to  open  same,  an  image  more  or  less  blurred 
will  appear  on  the  easel,  now  move  the  easel  back  and  forth  until 
the  desired  size  of  the  enlargement  is  secured,  then  focus  the 
image  sharply  by  racking  the  lens  back  and  forth. 

The  nearer  the  lens  is  placed  to  the  negative  the  greater  the 
size  of  the  enlargement  and  the  copy-board  will  have  to  be 
moved  back  correspondingly  to  obtain  sharp  focus. 

Focus  with  the  lens  fully  opened,  then  stop  down  to  at  least 
stop  .16.  This  not  only  insures  good  definition  but  by  lengthen- 
ing the  time  of  exposure  permits  greater  control  during  exposure, 
affording  time  to  shade  or  locally  increase  the  exposure  on  any 
portion  of  the  image. 

After  having  obtained  the  desired  size  and  correct  focus  close 
the  shutter  and  place  the  sheet  of  Bromide  paper  in  position  on 
the  easel  or  copy-board.  Before  capping  the  lens  or  closing  the 
shutter  the  correct  position  for  placing  the  sheet  of  Bromide  paper 
should  be  marked  on  the  copy-board. 

A deep  colored  ray  screen  may  be  utilized  as  a lens  cap,  as  the 
light  coming  through  this  screen  will  not  affect  the  Bromide  paper 
for  a few  minutes,  and  the  operator  can  by  this  means  see  just 
where  to  fasten  the  sheet  of  Bromide.  It  is  perhaps  unnecessary 


Enlarged  from 

Vest  Pocket  Kodak  Negative 


Velvet  Bromide  Paper 


ENLARGING. 


135 


to  state  that  the  coated  or  emulsion  side  of  the  paper  should  be 
out.  (The  coated  side  is  slightly  concave.) 

Before  opening  the  package  of  Bromide  paper  see  that  no  white 
light  enters  the  room.  It  is  well  to  provide  a good  sized  box  with 
a hinged,  light  tight  cover  to  keep  the  Bromide  paper  in  until 
needed,  with  also  a compartment  to  hold  the  exposed  sheets  when 
making  a number  of  enlargements  to  be  developed  later. 

After  the  correct  size  and  focus  has  been  obtained 
Test  the  next  step  is  the  exposure. 

Exposures:  Provision  should  have  been  made  for  a non- 

actinic  yellow  or  orange  dark-room  lamp,  or  a small 
window  opening  outside  covered  with  several  thicknesses  of  yellow 
or  post  office  paper. 

In  first  attempting  the  making  of  enlargements,  test  strips  for 
determining  the  accuracy  #of  focus  and  proper  duration  of  the 
exposure  should  be  employed. 

A strip  one  or  two  inches  wide  and  long  enough  to  extend 
diagonally  across  the  focused  image  will  be  sufficient. 

Correct  exposure  depends  on  several  factors ; the  intensity 
of  the  light,  density  of  the  negative,  size  of  the  enlargement,  and 
aperture  of  the  lens. 

The  first  test  exposure  will  be  purely  arbitrary;  if  the  light 
be  good  and  the  negative  of  average  density,  say  ten  seconds. 

Cover  up  two-thirds  of  the  strip  with  a piece  of  cardboard,  and 
expose  for  five  seconds,  move  the  cardboard  and  give  the  next 
portion  five  seconds,  making  ten  for  the  first,  then  remove  the 
cardboard  entirely  and  expose  the  remainder  of  the  strip  five  sec- 
onds, the  fully  exposed  strip  will  now  contain  three  different  ex- 
posures, one  of  five  seconds,  one  of  ten  and  one  of  fifteen  seconds. 

While  the  exact  time  for  the  development  of  a correctly  ex- 
posed Bromide  enlargement  cannot  be  given,  the  proper  exposure 
may  be  readily  determined  by  appearance  as  the  image  will  appear 
gradually,  developing  brilliantly  and  attaining  full  strength  in 
about  one  and  a quarter  minutes.  Develop  this  test  strip  (see  page 
136  for  directions).  If  these  test  exposures  are  all  very  much 
over  or  under  exposed  make  another  set  of  test  exposures,  being 
guided  as  to  time  by  the  first  strip.  If  the  image  comes  up  rapidly, 
but  dull  and  full  of  detail  in  the  highlights,  it  has  been  over  ex- 
posed; if  weak  and  without  detail,  it  is  under-timed.  Under  dif- 
ferent conditions  the  time  required  for  exposure  varies  from  five 
seconds  to  five  or  ten  minutes,  according  to  the  light,  density  of 
negative,  etc.  However,  a few  trials  will  narrow  the  exercise  of 
judgment  down  to  the  intensity  of  the  light  and  the  making  of 
correct  exposures  becomes  a simple  matter. 

In  making  enlargements  of  different  sizes  it  must  be  remem- 
bered that  light  intensity  decreases  as  the  easel  is  moved  further 
away  from  the  lens.  As  an  example:  If  an  enlargement  eight 

by  ten  in  size  requires  ten  seconds,  one  sixteen  by  twenty  (which  is 
four  times  as  great  in  area)  would  require  four  times  ten,  or  forty 
seconds  exposure.  Do  not  attempt  to  count  seconds;  use  a watch 
or  clock. 


i36 


ENLARGING. 


No  printing  process  affords  so  many  opportunities  for  modify- 
ing in  the  print  the  characteristics  of  the  original  negatives  as 
Bromide  enlarging. 

Stop  down  the  lens  so  as  to  afford  plenty  of  time  during  the 
exposure,  and  we  can  shade  a little  here,  give  a little  longer  ex- 
posure there  and  obtain  just  the  result  desired,  bringing  out  detail 
in  shadows  or  softening  a high  light  at  will. 

In  shading  any  portion  during  exposure,  hold  the  shade  nearer 
the  lens  than  the  copy-board  to  avoid  sharp  lines  and  obtain  the 
proper  diffusion. 

After  the  exposure  has  been  made  the  next  step  is 
Develop-  development,  which  is  accomplished  in  practically 

ment!  the  same  manner  as  in  the  development  of  a plate 
or  film. 

Provide  a ruby  or  deep  orange  lamp,  graduate,  stirring  rod  and 
three  trays,  preferably  of  hard  rubber  or  rubber  lined,  at  least  an 
inch  larger  each  way  than  your  sheets  of  Bromide  paper,  to 
facilitate  handling. 

A rubber  lined  tray  of  any  size  is  easily  constructed  by  glueing 
a sheet  of  gossamer  rubber  cloth  into  a wooden  box  or  tray. 

As  the  Bromide  paper  is  not  as  sensitive  to  light  as  a dry 
plate  or  film  a somewhat  stronger  light  may  be  employed  for  de- 
veloping. A small  window  opening  outside,  covered  with  two 
thicknesses  of  yellow  post  office  paper  will  serve,  or  the  ruby 
glass  may  be  removed  from  the  dark-room  lamp.  The  remaining 
orange  glass  will  be  ample  protection  against  fog  and  allow  the 
process  of  development  to  be  observed  with  greater  ease. 

Use  developer  at  a temperature  of  about  70°  Fahr.  After 
exposure,  soak  the  paper  in  water  until  limp  and  brush  lightly 
over  the  surface,  while  wet,  with  a tuft  of  cotton  and  flow  de- 
veloper over  the  print. 

With  Nepera  Solution  1 to  6 at  70°  temperature  the  image 
should  appear  in  from  12  to  15  seconds  and  the  print  allowed  to 
develop  for  at  least  1 minute  to  1^  minutes.  If  the  prints  develop 
in  less  than  one  minute  under  the  above  conditions,  the  exposure 
has  been  too  long.  If  the  print  is  not  fully  developed  in  \l/2  min- 
utes under  the  above  conditions,  the  exposure  has  been  too  short. 

After  development  is  complete  the  print  should  be  rinsed  in 
clean  water  for  a few  seconds  and  then  immersed  in  the  fixing 
bath.  Do  not  attempt  to  develop  too  many  prints  in  one  portion 
of  developer.  (See  page  137.) 

There  are  a number  of  developers  that  will  produce  good  re- 
sults on  Bromide  papers,  when  used  by  experienced  hands,  under- 
standing their  limitations.  The  professional  photographer  en- 
larges from  a uniform  quality  of  negative  and  for  a certain  ef- 
fect; on  the  other  hand,  the  amateur,  from  the  wide  diversity 
of  his  attempts,  finds  his  negatives  varying  in  density  and  quality, 
and  the  best  developer  for  him  to  use  is  the  one  affording  the 
greatest  latitude  in  exposure  and  development,  and  the  one  that 
keeps  well  in  solution. 


ENLAR  GING. 


137 


Without  question  Nepera  Solution  is  the  best  developer  for  this 
purpose.  Nepera  Solution  is  known  as  the  universal  developer, 
as  it  may  also  be  used  for  plates,  films  and  Velox  paper. 

For  use  with  Bromide  paper,  take 

Nepera  Solution,  1 ounce 

Water,  -------  6 ounces 

Six  ounces  of  the  prepared  solution  will  develop  six  8x10 
prints  or  their  equivalent,  after  which  a fresh  solution  should  be 
prepared.  When  Nepera  Solution  is  not  obtainable,  the  follow- 
ing formula  should  be  used  : 


ELON-HYDRO  OR  METOL-HYDRO  DEVELOPER. 


Hot  Water,  - - - 

Elon  or  Metol,  - • - 

Hydrochinon,  - 
Sulphite  of  Soda,  - 
Carbonate  of  Soda,  - 
Bromide  of  Potassium,  - 


8 ounces 
17  grains 
72  grains 
264  grains 
437  grains 
10  grains 


The  above  formula  should  be  prepared  with  desiccated  sodas, 
preferably  Eastman ; if  crystals  are  used,  double  the  quantity  of 
both  sulphite  and  carbonate  of  soda. 

In  cold  water  1 oz.  of  wood  alcohol  should  be  added  to  the 
above  to  prevent  precipitation. 

This  concentrated  developer  will  keep  indefinitely  in  full  bottles 
well  stoppered. 

TO  DEVELOP. 


Take  in  a suitable  tray — 

Concentrated  Solution,  1 ounce 

Water,  -------6  ounces 

This  amount  is  sufficient  to  develop  six  8 x 10  prints  or  their 
equivalent. 

If  Bromide  prints  are  fixed  in  the  fixing  bath  pre- 
Fixing:  pared  according  to  the  following  formula,  there  will 

be  no  evidence  of  blisters  or  frilling. 

Hyposulphite  of  Soda,  3 ounces 

Water,  -------16  ounces 

A fresh  fixing  bath  made  up  as  above,  should  fix  twelve  8 x 10 
prints  or  their  equivalent,  after  which  the  bath  should  be  discarded. 

The  prints  should  remain  in  the  fixing  bath  for  at  least  fifteen 
minutes,  but  not  longer  than  one-half  hour,  and  should  be  moved 
one  over  the  other  occasionally  to  insure  even  fixing  and  to  avoid 
staining. 

After  all  prints  have  remained  in  the  fixing  bath  for  a few 
minutes,  the  yellow  shade  may  be  removed  from  the  light  and 
the  balance  of  the  operation  continued  by  ordinary  light.  Be- 


138 


ENLAR  GING. 


fore  permitting  white  light  to  enter,  be  sure  that  any  unexposed 
or  undeveloped  sheets  of  the  Bromide  paper  have  been  carefully 
protected  from  the  light. 

After  fixing,  immerse  prints  for  about  ten  minutes  in  a hard- 
ening bath  composed  of  water,  16  ozs. ; Alum,  1 oz.  When  re- 
moved from  the  hardening  bath,  the  prints  should  be  washed  for 
at  least  one  hour  in  running  water,  or  in  at  least  twelve  changes 
of  water,  in  a tray  sufficiently  large  to  permit  the  water  to  reach 
all  portions  of  each  print. 

Move  the  prints  one  over  the  other  occasionally  to  ensure  the 
full  elimination  of  the  fixing  solution. 

If  the  following  fixing  bath  is  used,  the  alum  hardening  bath 
may  be  omitted  : 

Hypo, 

Water, 

When  dissolved,  add : 

Metabisulphite  of  Potash,  - ounce 

Alum,  ------  ounce 

After  the  prints  have  been  thoroughly  washed,  they 
Drying:  may  be  suspended  by  means  of  pins  from  the  edge 

of  a table  or  shelf.  Upon  removal,  when  dry,  they 
will  curl  but  slightly  and  can  be  made  to  lie  perfectly  flat  when 
required,  by  moistening  the  back  only  and  re-drying  between  blot- 
ters under  heavy  pressure. 

Do  not  use  the  ordinary  commercial  blotter  as  it  usually  con- 
tains a large  percentage  of  hypo  and  other  injurious  chemicals. 

Avoid  also  the  use  of  colored  blotters  and  those  containing 
printed  matter,  as  the  coloring  and  printers  ink  are  apt  to  impress 
themselves  unpleasantly  on  the  print. 

A very  satisfactory  way  for  mounting  small  en- 
Mounting:  largements,  not  larger  than  6^4x8^,  (Above  that 

size  they  are  best  mounted  wet  with  a good  starch 
paste  as  a Kodak  Dry  Mounting  Press  would  be  necessary  with 
the  tissue  in  the  large  sizes  and  this,  of  course,  the  amateur  would 
not  be  likely  to  have  in  his  equipment,)  is  by  the  use  of  Kodak 
Dry  Mounting  Tissue,  as  the  print  lies  absolutely  flat  in  perfect 
contact,  even  on  the  thinnest  mount  and  without  curl.  See  page  109. 

To  mount  with  paste  proceed  as  follows : 

On  Card — Bromide  prints  may  be  mounted  wet.  Lay  the  wet 
print  face  down  on  table  covered  with  oil  or  rubber  cloth  or 
sheet  of  glass  and  squeegee  off  all  the  surplus  water,  then  brush 
over  the  back  with  thin  starch  paste,  lay  the  print  on  the  mount, 
then  cover  the  print  with  a clean  sheet  of  paper,  and  press  into 
contact  with  a squeegee  or  rubber  print  roller. 

Straightening  Unmounted  Prints — After  drying,  prints  may 
be  straightened  by  the  scraping  action  of  a sharp  edged  ruler  ap- 
plied to  the  back;  the  corner  behind  the  ruler  being  lifted  as  the 
ruler  is  passed  along. 


16  ounces 
128  ounces 


ENLA  R GING. 


139 


Hints:  Mealy  Mottled  Prints — Over  exposure  and  short 

development. 

Greenish  Tones — Over  exposure  or  too  much  bromide. 

Face  of  Permanent  Bromide  Paper  can  always  be  distin- 
guished by  looking  through  it  or  upon  it  in  a good  light ; unfixed 
portions  will  be  a greenish  yellow. 

Running  Water  is  not  so  sure  a means  for  washing  prints 
as  changing  them  from  one  tray  to  another,  allowing  them  to  soak 
at  least  ten  minutes  in  each  change  of  fresh  water;  twelve  changes 
are  sufficient ; no  less. 

If  one  has  a weak  negative  to  enlarge  by  daylight,  a strong 
print  may  be  obtained  from  it  by  varnishing  the  back  with  ordi- 
nary negative  varnish  slightly  tinted  with  a yellow  aniline  dye. 
Where  many  such  negatives  have  to  be  treated,  separate  glasses, 
tinted  to  various  shades  of  yellow,  may  be  employed ; one  or  these 
glasses  being  put  directly  behind  the  negative,  between  it  and  the 
source  of  light.  Only  a very  slight  yellow  tint  is  required  to  in- 
crease the  contrast  in  the  resulting  print  to  a marked  degree. 

A glass  tinted  with  blue  varnish  will  reduce  contrast. 

Eastman  Permanent  Bromide  papers,  since  their 
introduction  thirty  years  ago,  have  been  consid- 
What  Paper  ered  standard  by  the  photographic  public,  and  tes- 
to  Use:  timony  as  to  their  superiority  is  constantly  being 

received. 

The  list  and  description  of  the  various  kinds  of 
Eastman  Bromide  paper,  and  statement  of  use  to  which  each  is 
best  adapted,  is  as  follows : 

Velvet  Bromide  : Suited  to  negatives  having  broad  shadows, 

the  slight  sheen  of  the  semi-gloss  surface  giving  to  enlargements 
from  such  negatives  a life  and  brilliancy  which  is  highly  pleas- 
ing. Velvet  Bromide  is  especially  appreciated  by  those  who  en- 
large from  amateur  or  landscape  negatives. 

Standard  Bromide  Paper  is  a natural  surface  Bromide  paper, 
which  is  especially  adapted  to  all  kinds  of  enlargements,  particu- 
larly copies  on  which  crayon  or  pastel  work  is  to  be  done. 

The  emulsion  is  coated  on  three  different  weights  of  paper — A, 
thin  smooth — B,  heavy  smooth — C,  heavy  rough. 

The  A thin  smooth,  for  contact  prints  or  small  enlargements 
which  are  to  be  spotted  or  finished  in  India  ink  or  water  colors. 

The  B,  heavy  smooth,  for  large  enlargements  which  are  to  be 
spotted  or  finished  in  water  colors,  India  ink  or  oil. 

The  C,  heavy  rough,  is  best  adapted  to  rough  work,  which  is 
to  be  finished  in  crayon  or  pastel;  it  can  also  be  finished  in  India 
ink  or  water  colors. 

The  BB,  double  weight,  same  surface  as  A,  and  the  CC,  double 
weight,  same  surface  as  C,  need  no  further  description.  Their 
use  for  unmounted  prints  and  large  work  is  constantly  increasing. 

Platino  Bromide  Paper  gives  results  so  nearly  like  platinum 
that  the  difference,  if  any,  is  difficult  to  detect.  It  has  a fine 
surface  and  is  best  adapted  to  contact  prints  and  enlargements 
from  portrait  negatives. 

Made  in  two  weights — A,  thin  smooth — C,  heavy  rough. 


140 


ENLARGING. 


The  A,  thin  smooth,  should  be  used  for  contact  prints  or  small 
enlargements  which  are  to  be  spotted  or  finished  in  India  ink 
or  water  colors. 

The  C,  heavy  rough  is  intended  for  large  work  which  is  to  be 
spotted  or  finished  in  crayon  or  pastel,  India  ink,  water  colors  or 
oil. 

Matte-Enameled  Bromide  Paper — Rich  carbon  blacks  and  a 
smooth  velvety  Matte  surface  tinted  just  enough  to  lend  warmth 
to  the  high  lights  and  half  tones. 

Enameled  Bromide  Paper — A glossy  Bromide  paper  gives  en- 
largements which  closely  resemble  glossy  contact  prints.  When 
squeegeed  to  ferrotype  plate  it  gives  a gloss  which  is  fully  equal 
to  that  produced  by  the  glace  process.  It  is  furnished  in  medium 
weight  paper  only. 

Royal  Bromide  Paper — Sepia  toned  enlargements  made  through 
bolting  cloth  on  Royal  Bromide  Paper  have  the  breadth  and  soft- 
ness of  fine  old  etchings. 

Negatives  having  a dark,  sketchy  background,  deep  shadows 
and  snappy  high  lights  will  combine  to  produce  an  effect  with 
Royal  Bromide  not  obtained  with  any  other  Bromide  paper. 

Royal  Bromide  is  not  intended  for  use  when  vignetted  prints 
with  white  backgrounds  are  wanted,  as  it  is  coated  on  paper  hav- 
ing a delicate  cream  tint,  the  yellowish  cast  in  high  lights  har- 
monizing beautifully  with  dark  backgrounds. 

Silk  bolting  cloth  helps  to  produce  the  general  artistic  effect 
by  increasing  the  softness  and  breadth. 

Made  in  two  surfaces,  rough  and  smooth. 

Pictures  of  beautiful  softness  and  breadth  can  be 
made  on  Royal  Bromide  by  making  the  enlargement 
through  a screen  of  silk  bolting  cloth. 

The  screen  softens  the  heavy  mass  of  shadows 
and  blends  them  in  harmony  with  the  higher  tones. 

The  most  convenient  way  to  use  the  bolting  cloth  is  to  stretch 
it  over  a frame  or  strainer.  If  the  screen  be  used  in  direct  con- 
tact with  the  paper,  the  enlargement  has  the  effect  of  being  made 
on  fine  meshed  canvas. 

To  secure  great  diffusion  place  the  screen  at  a distance  of 
inch  to  one  inch  from  the  paper. 

The  further  the  screen  is  removed  the  greater  the  diffusion 
of  light. 

The  use  of  the  screen  increases  the  exposure  about  one-third. 
Focusing  should  be  done  before  the  screen  is  put  in  place.  With 
smooth  paper  the  fine  mesh  bolting  cloth  should  be  used.  With 
rough  paper  use  either  the  medium  or  coarse  mesh.  For  small 
prints  use  fine  mesh.  For  the  convenience  of  our  customers  we 
have  arranged  to  furnish  the  best  quality  of  silk  bolting  cloth  and 
will  ship  same  in  rolls,  thus  avoiding  all  folds  or  creases  in  the 
cloth. 


Special 

Effects: 


There  is  a growing  demand  for  warm-toned 
Sepia  Tones:  bromide  paper  prints,  which  will  be  satisfied  by 
Royal  Re-Developer. 

Permanency — Prints  toned  in  Hypo-Alum  have  been  proved 
permanent  by  thousands  of  users  and  Royal  Re-Developer  affords 


ENL  A R GING. 


1 4 1 


results  chemically  identical  with  those  obtained  by  the  Hypo- 
Alum  toning.  Re-Developed  prints  suffer  no  change  in  detail  or 
gradation. 

A Bromide  print  of  any  texture  of  surface,  which,  when  made, 
was  evenly  fixed  and  thoroughly  washed , will  give  a desirable 
result  when  Re-Developed. 

Some  additional  features  of  Royal  Re-Developer  are  as 
follows : 

Uniformity — Following  the  directions  given  herewith  will  in- 
sure absolute  uniformity. 

Rapidity — A Bromide  print  can  be  turned  Sepia  is  less  than 
two  minutes’  time. 

To  prepare  bleaching  bath  dissolve  contents  of  tube 
To  Prepare  marked  “Bleaching  Agent”  in  20  ounces  of  water, 
Solutions:  to  which  should  be  added  twelve  drops  of  aqua 

ammonia. 

To  prepare  re-developing  solution,  dissolve  the  contents  of 
a tube  from  the  carton  marked  “Re-Developer”  in  32  ounces  of 
water. 

The  process  for  Sepia  Toning  Bromide  Prints  is  the  same  as 
for  Velox.  See  “Sepia  Toning  on  Velox”,  page  112. 

Eastman  Bromide  Papers  may  be  used  for  contact 

Contact  printing  by  either  artificial  or  daylight,  but  we 
Printing:  would  recommend  for  this  purpose  Velox  paper, 

as  that  is  manufactured  especially  for  such  purpose. 

Eastman  Bromide  paper  is  very  sensitive.  It  cannot  be 
handled  in  an  ordinary  light  and  the  printing  frame  must  be 
loaded  and  the  unexposed  paper  handled  only  by  yellow  or  orange 
light. 

For  daylight  about  two  thicknesses  of  yellow  post  office  paper 
over  the  dark-room  window  would  be  safe  or  one  thickness  when 
working  by  gas  or  kerosene. 

The  exposure  varies  with  the  intensity  of  the  negative  and 
quality  and  intensity  of  the  light.  An  average  negative  would  re- 
quire approximately  one-quarter  second  by  daylight  or  ten  seconds 
at  a distance  of  one  foot  from  a number  2 kerosene  burner. 

ENLARGING  ON  VELOX. 

Special  Velox,  instead  of  Bromide  paper,  may  be  employed 
for  making  enlargements,  but  we  do  not  recommend  it  for  day- 
light enlarging  except  in  cases  where  the  negative  can  receive  the 
full  light  from  the  sky. 

In  cases  where  the  light  is  reflected  upon  the  negative  Velox  is 
not  of  sufficient  rapidity  to  prove  of  practical  value. 

While  Velox  entails  a very  much  longer  exposure  to  the  light 
than  Bromide  paper,  it  possesses  the  great  advantage  of  being 
handled  in  a much  stronger  light  and  does  away  entirely  with  the 
dark-room  for  any  of  the  operations.  The  contrast  of  Velox 
makes  it  specially  well  adapted  for  enlarging  from  small,  weak 
negatives  and  a great  latitude  in  exposure  and  development  enables 


142 


ENLAR  GIN  G. 


the  amateur  with  but  little  experimenting  to  secure  first-class 
results. 

When  using  Velox,  there  is  of  course,  no  difference  in  the 
method  of  loading  the  camera,  from  that  when  using  Bromide 
paper,  except  that  no  dark-room  is  necessary;  the- window  shades 
should,  however,  be  pulled  down  and  the  paper  handled  in  a cor- 
ner of  the  room  furthest  from  the  outside  light. 

For  enlargements  up  to  8 x 10,  with  negatives  of  average 
density,  an  exposure  of  about  thirty  minutes  under  a bright  sky 
will  be  approximately  correct.  One  or  two  test  exposures  with  an 
average  negative  will  determine  the  exposure  time  for  all  negatives 
under  similar  conditions.  It  must  be  remembered  that  negatives  of 
a yellowish  color  will  require  much  longer  exposure  and  also  that 
the  light  in  the  winter  months  is  very  much  slower  than  in  the 
summer,  and  that  a proportionately  longer  exposure  must  be  given  : 

After  the  exposure  has  been  made,  development  and  fixing  are 
carried  out  in  the  same  manner  as  when  making  contact  prints. 
For  developing  Velox  enlargements,  we  recommend  Nepera  Solu- 
tion. 

Nepera  Solution,  2 ounces 

Water,  ______  4 ounces 

Temperature  70  degrees  Fahr. 

If  you  wish  to  prepare  your  own  developer  use  formula  on 
page  137,  diluting  as  above. 

After  the  Velox  enlargement  has  been  developed,  immerse  for 
a moment  in  a tray  of  clean  water  and  then  transfer  to  the  fixing 
bath. 

NOTE— Velox  enlargements  maybe  fixed  and  washed  the  same  as  Velox  contact 
prints.  See  pages  107-108. 

After  fixing  and  washing  the  print  should  be  dried  in  accord- 
ance with  the  directions  for  Bromide  paper.  See  page  138. 

THE  BROWNIE  ENLARGING  CAMERA. 

The  Brownie  Enlarging  Camera  idea  is 
this:  To  dispense  with  all  fancy  adjustments 
and  to  furnish  at  Brownie  prices,  just  the 
result-producing  parts  necessary  for  day- 
light enlargement. 

How  well  this  idea  has  been  carried  out 
may  be  seen  from  the  low  prices  at  which 
these  cameras  are  furnished  and  the  fact 
that  with  them,  enlargements  up  to  the  8 x 10 
size  may  be  had,  enlargements  of  as  good 
quality  as  can  be  obtained  by  any  method 
whatever. 

The  Brownie  Enlarging  Camera  is 
simply  a cone-shaped  box,  constructed  of 
substantial  material,  with  a holder  for  che 
paper,  at  the  large  end,  negative  holder  at 
the  small  end.  The  box  is  collapsible  for 
convenience  in  carrying.  It  can  be  set  up, 


ENLARGIN  G. 


143 


ready  for  use,  in  a few  sec- 
onds. The  lens  (which 
conies  with  each  Enlarging 
Camera)  is  fitted  inside  the 
cone  at  just  the  right  dis- 
tance to  insure  a sharp  focus 
always ; an  out  of  focus  en- 
largement is  impossible  if 
the  negative  is  sharp. 

In  making  an  enlarge- 
ment, one  merely  sets  up  the 
box,  places  the  negative  in  its  holder,  a sheet  of  Bromide  or  Velox 
in  the  paper  holder,  and  makes  the  exposure  by  setting  the  camera 
where  the  full,  unobstructed  light  (not  direct  sunlight)  of  the 
sky  will  fall  upon  the  negative.  When  sufficient  exposure  has 
been  given  (explained  in  the  Brownie  Enlarging  Camera  Manual) 
the  paper  is  developed  in  the  usual  manner. 

If  Velox  paper  is  used  no  dark-room  is  necessary  for  any 
part  of  the  process.  If  Bromide  paper  is  used,  owing  to  its 
greater  sensitiveness  to  light,  the  loading  and  development  of  the 
paper  must  be  done  in  the  dark-room,  but  there  is  a gain  in  that 
the  length  of  the  exposure  is  decreased. 

The  No.  2 Brownie  En- 
larging Camera  makes  5x7 
enlargements  from  2%x3t/^. 
negatives,  or  5 x 5 enlarge- 
ments from  2%  x 2^4  nega- 
tives. 

The  No.  3 Brownie  En- 
larging Camera  makes  6^4 
x 854  enlargements  from 
3^4  x 4^4  negatives. 

The  No.  4 Brownie  En- 
larging Camera  makes  8x10 
enlargements  from  4x5 
negatives  and  will  also  enlarge  from  3^4  x 5j4  negatives. 

One  of  the  greatest  evidences  of  the  practical  merit  of  these 
cameras  is  the  fact  that  they  have  been  adopted  by  people  who 
make  a business  of  enlarging  for  amateur  photographers. 

The  ease  of  setting  up 
the  Brownie  Enlarging 
Camera  is  shown  in  the 
accompanying  illustrations. 
On  opening  the  collapsible 
cone,  about  six  inches  from 
the  front  or  small  end  will 
be  seen  four  cleats  or  cross 
pieces,  one  on  each  section. 
These  serve  to  retain  the 
lens  board  in  position  when  cone  is  erected. 

The  lens  board  is  to  be  placed  just  back  of  the  cleats  and  the 
cone  closed,  as  shown  in  Figs.  2 and  3.  The  cone  is  fastened  by 


J 44 


ENLAR  GING . 


buttons  along  the  side,  which  hold  the  cone  securely  while  attach- 
ing the  negative  and  paper  holders. 

The  negative  holder  is  a small  frame  con- 
taining two  sheets  of  glass  and  is  fastened  to 
small  end  of  cone  by  means  of  hooks  (Fig. 

4).  The  paper  holder  is  attached  to  the 
large  end  in  the  same  manner.  A binding 
frame  is  then  slipped  over  the  cone  and 
forced  towards  the  base  until  it  fits  tight- 
ly, thus  holding  the  cone  absolutely  light- 
tight (Fig.  5). 

The  camera  is  now  ready,  and  the  nega- 
tive from  which  the  enlargement  is  to  ‘be 
made  should  be  placed  in  the  front  frame 
between  the  two  glasses. 

The  paper  holder  is  loaded  with  a sheet 
of  Bromide  (in  the  dark-room)  or  Velox  (in  subdued  light)  and 
all  is  ready  for  the  exposure,  the  duration  of  which  is  explained 
in  the  enlarging  camera  manual. 


Fig.  5. 


THE  BROWNIE  ENLARGING  CAMERA 
ILLUMINATOR. 

The  Brownie  Enlarging  Camera  Illuminator  adds  greatly  to  the 
pleasure  in  the  use  of  the  Brownie  Enlarging  Camera;  with  it 
enlargements  on  Bromide  paper  may  be  made  in  the  evening,  or 
at  any  time,  wherever  the  ordinary  electric  current  is  available. 


Fig.  1. 

As  shown  in  Figure  1,  the  Illuminator  consists  of  a light  tight 
box,  provided  with  a semi-circular  reflector,  and  adapted  to  en- 
close a Tungsten  electric  bulb.  The  rays  of  light  are  reflected 
upon  an  opal  glass  screen,  affording  an  even  and  full  illumination 
of  the  negative. 


ENLAR  GING. 


145 


In  front  of  the  opal  glass  screen  is  attached  a screen  of  orange 
fabric,  which  is  dropped  down  out  of  the  way  when  making  an 
exposure  as  shown  in  Figure  2. 

When  this  orange  screen  is  returned  to  its  original  position 
(where  it  is  secured  by  snap  buttons)  it  forms  an  ideal  light  for 
developing  the  enlargements. 


Fig.  2. 

The  Illuminator  is  substantially  constructed,  and  so  that  it  may 
be  taken  apart  and  packed  flat  for  shipment  or  storage  when  not 
in  use.  It  is  as  easily  assembled  as  the  Brownie  Enlarging  Camera 
and  may  be  put  in  commission  in  a few  moments. 

With  a 100  watt  Tungsten  lamp,  (equal  to  75  candle  power) 
which  we  recommend  for  use,  fully  timed  enlargements  may  be 
made  in  from  one  to  ten  minutes  according  to  the  density  of  the 
negative. 

The  necessary  lamp,  cord  and  socket  attachment  can  be  obtained 
from  any  dealer  in  electric  supplies.  The  price  of  the  Illuminator 
is  three  dollars. 


An  Italian  Court  Yard. 


Clouds  and  the  Landscape 

The  subject  of  clouds  in  photography  is  one  that,  although 
given  some  thought  by  advanced  amateurs,  has  not  been  given  the 
attention  which  it  deserves.  It  is  not  alone  an  interesting  study,  but 
it  is  necessary  that  one  understand  how  to  produce  clouds  in  his  pic- 
tures when  he  is  unable  to  obtain  them  directly  in  the  negative. 
Frequently  we  pick  up  a landscape;  both  the  composition  and 
lighting  are  good  but  there  is  something  lacking  to  that  harmony 
which  is  so  essential  in  landscape  work.  Above  the  landscape  we  see 
a blank  white  space  and  a second  thought  suggests  that  a cloudy 
sky  would  have  given  a finish  to  the  picture  that  could  be 
obtained  in  no  other  way. 

There  are  two  methods  of  obtaining  clouds : First,  to  photo- 

graph the  landscape  when  there  are  clouds  in  the  sky ; second, 
to  obtain  the  clouds  by  the  printing-in  process.  Both  have  their 
advantages.  With  the  former  the  great  difficulty  lies  in  being  able 
to  give  an  exposure  that  will  allow  of  obtaining  a negative  hav- 
ing a sky  and  foreground  of  proper  relative  printing  densities.  In 
most  cases  we  expose  for  detail  in  the  foreground  and  by  so  doing 
we  over-expose  the  sky,  and  the  result  is  that  that  portion  of  the 
negative  is  strong  or  dense  and  lacks  almost  entirely  in  detail.  If 
we  expose  for  the  clouds,  we  under-time  the  foreground. 

N.  C.  Film  is  particularly  adapted  to  this  class  of  work  because 
of  its  orthochromatic  qualities,  which  makes  it  possible  to  obtain 
better  color  values.  This  results  in  a negative  having  more  even 
density.  We  may  also  use  the  color  screen,  or  filter,  which  in  a 
large  degree  compensates  for  the  want  of  agreement  between  the 
sensitiveness  of  film  and  the  sensitiveness  of  the  eye  relative  to 
color.  The  best  results,  however,  are  obtained  by  the  combination 
of  N.  C.  Film  and  the  color  screen.  Occasionally,  even  when  using 
orthochromatic  film  in  connection  with  a color  screen,  we  obtain  a 
dense  sky,  due  to  over-exposure  and  sometimes  to  over-develop- 
ment. It  then  becomes  necessary  to  reduce  the  strength  of  that 
portion  of  the  negative  if  we  would  obtain  detail  in  our  prints. 

The  following  formula  for  reducing  will  be  found  to  give  very 
satisfactory  results  if  the  instructions  are  properly  carried  out : 

To  1 oz.  of  Red  Prussiate  of  Potash  add  16  ozs.  of  water. 
Dissolve  and  keep  from  the  light  in  a tightly  corked  bottle.  Then 
make  a separate  solution  composed  of  1 oz.  of  Hypo-Sulphite  of 
Soda  to  12  ozs.  of  water,  to  be  kept  in  a separate  bottle.  With  the 
above  solutions,  a couple  of  trays,  plenty  of  water  and  several 
tufts  of  absorbent  cotton  you  are  prepared  to  do  the  work. 

After  placing  4 ozs.  of  the  Hypo  solution  in  a tray,  add 
about  one  teaspoonful  of  the  Potassium  solution.  This  is 
known  as  the  reducer.  If,  after  a trial,  this  is  found  to  be  too 
weak,  add  more  of  the  Potassium;  if  too  strong,  add  water.  After 
thoroughly  washing  your  film  or  plate  place  it  against  a sheet  of 


Over  Yonder. 


CLOUD  PRINTING. 


149 


ground  glass  (sky  down)  which  has  been  inclined  at  an  angle  of 
45  degrees,  over  a tray  that  will  catch  the  drip,  and  before  a light 
that  will  enable  you  to  see  through  the  negative.  Now  take  a tuft 
of  cotton  soaked  in  the  solution  and  gently  rub  that  portion  of 
the  negative . that  you  wish  to  reduce.  You  should  also  go  over 
the  surface  every  three  or  four  minutes  with  a second  tuft  of 
cotton  saturated  with  clear  water  in  order  that  the  negative  reduce 
evenly.  Be  sure  to  keep  the  reducer  off  any  portion  of  the  nega- 
tive that  you  do  not  wish  it  to  act  upon.  Watch  the  action  of 
the  solution  closely  so  that  it  does  not  go  too  far.  When  the 
negative  is  reduced  to  the  proper  density,  place  it  in  running  water 
for  an  hour  or  so  in  order  to  stop  all  action  of  the  reducer. 

Before  attempting  to  add  clouds  to  your  land- 
The  scapes  by  the  printing-in  process,  it  would  be  well 

Printing-in  to  obtain  a collection  of  cloud  negatives  in  order 

Method:  that  you  may  be  able  to  select  one  that  will  fit  each 

case,  for  it  must  be  remembered  that  the  clouded 
sky  needed  in  each  instance  depends  almost  entirely  upon  the  con- 
ditions existing  at  the  time  the  landscape  negative  was  obtained. 
For  instance,  should  you  picture  a landscape  when  the  sun  is 
directly  back  of  the  camera  and  then  print-in  from  a negative,  the 
clouds  of  which  have  received  their  illumination  from  immediately 
in  front  of  the  instrument,  you  can  readily  imagine  the  result, 
due  to  cross  lights  throughout  the  picture. 

Then  again,  if  the  landscape  is  illuminated  from  the  left,  see 
that  the  clouds  in  the  negative  used  are  illuminated  from  the  same 
point.  Do  not  combine  clouds  taken  on  a sunless,  lowry  day 
with  a landscape  taken  when  illuminated  by  the  direct  rays  of 
the  sun,  or  vice  versa. 

Cloud  negatives  that  are  to  be  used  for  printing  in  should  be 
thin.  They  should,  however,  have  sufficient  strength  to  give  bril- 
liancy to  the  print.  There  are  several  advantages  in  using  a cloud 
negative  which  is  more  or  less  transparent,  as  you  can  see  through 
it  and  better  judge  as  to  its  adjustment  over  the  print  to  which 
you  propose  to  add  the  clouds. 

When  obtaining  negatives  for  printing-in,  it  is 
The  necessary  to  make  very  short  exposures  because  if 

Negative:  we  over-expose,  even  very  slightly,  we  destroy  the 

delicate  contrasts  that  exist  between  the  high-lights 
and  shadows  and  thereby  flatten  the  negative.  For  instance,  if 
we  make  an  exposure  of  ^ of  a second  with  stop  U.  S.  8 for  an 
ordinary  landscape  fully  illuminated  by  the  direct  rays  of  the 
sun,  we  in  most  cases  properly  time  the  foreground  but  overtime 
the  sky,  destroying  its  beauty,  and  for  that  reason,  when  exposing 
for  the  sky  alone,  or  even  of  a second  with  stop  U.  S.  32 
will  in  most  cases  give  perfect  detail. 

An  exposure  thus  obtained  should  be  carefully  developed,  too 
much  contrast  avoided  and  development  stopped  the  moment  that 
full  detail  appears.  You  will  then  have  a negative  that  will  print 
rapidly  and  give  you  all  the  gradations  of  light  and  shade  that 
were  impressed  upon  the  eye  at  the  time  the  exposure  was  made. 


150 


CLOUD  PRINTING. 


It  would  be  well  to  add  that  if  a light  color  screen  is  used,  it  will 
improve  your  negative  somewhat  but  will  increase  the  length  of 
the  exposure  required. 

In  the  first  place,  it  is  necessary,  when  printing  the 
The  foreground  to  obtain  a white  sky.  In  order  to  do 

Process:  so  you  must  mask  that  portion  of  the  negative  in 

order  that  the  light  may  not  penetrate  the  film  and 
affect  that  part  of  the  print  underneath  it.  First,  take  a sheet 
of  thin  strawboard  and  roughly  sketch  across  its  surface  (about 
midway  between  the  top  and  bottom)  a mark  to  correspond  as 
nearly  as  possible  with  the  sky  line  of  your  negative;  then  cut 
your  board  along  this  line.  Save  both  halves  because  you  will 
need  them  later.  Now  procure  a print  frame  (containing  a sheet 
of  glass)  somewhat  larger  than  the  negative  you  are  to  print 
from  and  after  locating  said  negative  in  the  proper  position,  fasten 
it  to  the  glass  with  small  stickers,  then  tack  the  upper  half  of 
the  cardboard  to  the  face  of  the  frame  so  that  only  that  portion 
of  the  negative  which  you  wish  to  print  from  will  show.  Now 
cover  the  entire  face  of  the  frame  with  tissue  paper  and  you  are 
ready  to  print.  After  removing  the  print  from  the  frame,  if  you 
use  printing-out  paper,  you  will  find  a properly  printed  foreground 
with  a pure,  white  sky. 

Now  place  your  cloud  negative  in  the  print-frame  and  properly 
locate  the  print  over  it,  using  the  lower  half  of  the  cardboard  to 
cover  up  the  foreground  so  that  the  light  will  reach  the  sky  only. 
It  should  be  borne  in  mind  that  the  cardboard  (which  we  will  call 
a mask,  or  vignetter)  when  tacked  on  the  frame  should  be  raised 
up  from  the  glass  about  one-quarter  of  an  inch,  so  that,  when  print- 
ing, the  light  will  diffuse  and  not  produce  a sharp  line  on  your 
print.  When  using  Velox,  as  the  image  does  not  show  before  de- 
velopment, it  will  be  necessary  to  mark  the  paper  at  the  edge 
in  order  to  tell  just  where  the  sky  line  comes:  otherwise  you  will 
be  unable  to  properly  locate  your  cloud  negative.  When  using  de- 
veloping papers  it  would  be  well  to  paste  two  or  three  thicknesses 
of  tissue  paper  over  your  frame. 


Lantern  Slides. 

The  making  of  lantern  slides  is  one  of  the  most  fascinating  and 
at  the  same  time  one  of  the  simplest  branches  of  amateur  photog- 
raphy. 

A well  selected  and  prepared  set  of  lantern  slides  will  provide  a 
most  pleasant  evening’s  entertainment,  and  as  the  apparatus  neces- 
sary for  projection  does  not  entail  a great  outlay,  the  amateur  pur- 
suing this  branch  will  find  his  efforts  well  rewarded. 

The  first  essential  for  a good  lantern  slide  is  a good  negative, 
one  not  only  of  even  gradation,  but  free  from  physical  blemishes 
such  as  pin  holes  or  scratches.  It  must  be  remembered  that  the 
picture  thrown  on  the  screen  is  magnified  many  times  and  imper- 
fections almost  too  small  to  be  noticed  in  the  negative  or  slide  will 
show  up  most  alarmingly  on  the  screen. 

On  the  other  hand  it  is  quite  possible  to  produce  a good  slide 
from  an  indifferent  negative,  by  alterations  in  exposure  and  de- 
velopment : 

For  instance,  a flat  negative  may  be  made  to  yield  greater  con- 
trast in  the  slide  by  a slight  under  exposure  and  a little  longer  de- 
velopment, or  if  the  negative  has  more  than  the  proper*  contrast  a 
little  longer  exposure  will  tone  this  down,  thus  evening  up  the 
gradation  in  the  slide. 

In  selecting  negatives  to  be  used  in  making  slides,  examine  them 
carefully,  spotting  out  with  extreme  care,  pin  holes,  scratches  and 
the  like. 

In  spotting  be  careful  to  match  the  surrounding  density  as  near- 
ly as  possible  for  if  your  fill  in  is  too  strong,  it  will  result  in  cor- 
responding transparent  spots  on  your  slide  which  will  be  exceed- 
ingly difficult  to  doctor. 

There  are  two  methods  of  making  lantern  slides,  by 
Making  the  contact,  and  by  reduction.  The  contact  method  be- 

Slide:  ing  simpler  of  the  two  will,  no  doubt,  appeal  to 

the  beginner. 

The  contact  method  entails  no  apparatus  beyond  an  ordinary 
printing  frame.  With  this  method  the  negative  is  placed  face  up  in 
the  printing  frame,  and  the  lantern  slide  plate  is  placed  in  contact 
with  it,  the  exposure  being  made  in  the  same  manner  as  when  mak- 
ing a Velox  print.  It  stands  to  reason,  that  by  the  contact  method, 
if  the  negative  is  larger  than  the  slide  plate,  only  such  portions 
can  be  used,  as  will  come  within  the  limits  of  the  slide  plate,  ( the 
standard  American  size  being  3%x4  inches). 

In  a great  many  instances  the  actual  picture  is  confined  to  a 
small  portion  of  the  negative,  and  the  area  of  the  slide  plate  will 
be  found  sufficient  to  encompass  it. 

When  such  is  not  the  case  the  reduction  process  must  be  re- 
sorted to. 

In  making  slides  by  contact  it  will  be  well,  though  not  abso- 
lutely necessary  to  select  a printing  frame  several  sizes  larger 
than  the  negative  employed. 

NOTE — If  yon  are  working  with  film  negatives,  the  printing  frame  should  be  pro- 
vided with  a sheet  of  clean  clear  glass  as  a support. 


152 


LA  TERN  SLIDES. 


As  lantern  slide  plates  are  as  sensitive  to  white  light  as  a sheet 
of  bromide  paper,  the  operations  of  exposure  and  development 
must  be  carried  on  in  the  dark-room,  making  use  of  the  regular 
dark-room  lamp;  the  actual  exposure,  of  course,  being  made  by- 
white  light. 

After  placing  the  negative  in  the  printing  frame,  face  up,  place 
the  lantern  slide  plate  film  side  down,  in  contact  with  the  nega- 
tive, covering  with  a black  paper  mask  such  portion  of  the  nega- 
tive as  you  do  not  desire  to  have  included  in  the  slide.  Re- 
member, that  as  all  slides  are  used  in  the  lantern  horizontally,  no 
slides  can  be  made  vertically  on  the  slide  plate. 

Having  adjusted  the  slide  plate  on  the  negative  to  your  satis- 
faction, place  the  back  of  the  printing  frame  in  position,  and  be- 
fore making  the  exposure,  see  that  the  cover  is  on  the  box  of 
unexposed  slides.  The  exposure  should  be  made  by  artificial 
light,  such  as  the  ordinary  oil  lamp,  or  a gas  or  electric  lamp. 
To  secure  even  illumination  the  printing  frame  should  be  about 
twelve  inches  from  the  light. 

The  time  of  exposure  will,  of  course,  vary  according  to  the 
density  of  the  negative  and  the  intensity  of  the  light,  and  as  the 
various  brands  of  lantern  slide  plates  differ  in  rapidity,  a test 
exposure  will  be  necessary. 

As  a basis  for  a test  using  a Welsbach  gas  burner,  select  a 
negative  of  average  density,  cover  one-half,  and  make  an  expo- 
sure of  six  seconds,  then  uncover  and  make  another  exposure  of 
six  seconds,  you  will  then  have  one-half  of  the  plate  with  twelve 
seconds  exposure,  and  the  remaining  half  with  six. 

Develop,  fix  and  wash  the  same  as  for  a dry  plate  (using  the 
formula  recommended  by  the  maker  of  the  plate  you  are  using) 
and  determine  the  correct  exposure  from  this  test. 

When  making  slides  by  reduction,  the  whole  or  any 
Slides  by  part  Qf  the  negative  may  be  reproduced  in  the 

Reduction:  slide,  as  the  negative  image  is  projected  upon  the 

surface  of  the  plate,  in  a manner  similar  to  that 
employed  in  the  making  of  enlargements. 


The  above  illustration  clearly  shows  how  any  one  of  the 
Folding  Kodaks  (except  the  Nos.  1 and  1A)  may  be  utilized  for 
slide  making  by  reduction. 


LANTERN  SLIDES. 


153 


As  the  bellows  extension  of  the  Kodak  is  insufficient  for  pro- 
ducing full  sized  slides,  except  from  very  large  negatives,  the 
necessary  focal  length  is  obtained  by  means  of  an  extension  at 
the  back.  This  extension  is  simply  a rectangular  wooden  box, 
with  an  opening  in  the  front  just  wide  enough  to  admit  the 
extended  bellows  and  base  board  of  the  Kodak  when  pushed 
through  from  the  inside  of  the  box.  (The  back  of  the  Kodak, 
of  course,  being  removed.) 

The  body  of  the  camera  being  held  in  position  against  the 
front  of  the  box  by  means  of  two  small  metal  hooks. 

The  length  of  the  extension  is  determined  by  the  bellows 
length  of  the  Kodak.  The  Kodak  used  in  the  illustration  is  the 
3A,  the  extension  being  8J/2  inches.  This  is  sufficient  for  produc- 
ing full  size  slides  3^x4  inches  from  3J4  x 5^  negatives,  or 
larger.  The  back  of  the  box  is  hinged  at  the  bottom,  allowing  it 
to  drop  down  to  admit  the  Kodak,  fastening  at  the  top  by  means 
of  a spring  catch. 

An  opening  is  cut  in  the  back  of  the  box  3^  x 4 % inches  and 
rabbets  fitted  to  receive  a sheet  of  ground  glass  in  a frame,  or  a 
3 % x 4 plate  holder. 

The  frame  holding  the  sheet  of  ground  glass  for  focusing 
should  be  the  same  thickness  as  the  plate  holder  and  care  exercised 
that  the  ground  glass  and  lantern  plate  are  in  exact  register. 

NOTE — A 4 x 5 or  3 % x 5^  plate  holder  may  be  used  if  fitted  with  a 2>V\  x 4 kit. 

The  back  of  the  extension  should  rest  against  small  cleats  in- 
side the  extension,  so  as  to  make  it  light  tight,  and  the  interior 
painted  a dull  black  to  avoid  reflections. 

The  illustration  shows  the  Kodak  and  extension  fitted  to  a 
board  3^2  feet  long  and  6 inches  wide. 

The  board  is  slotted,  to  receive  a tripod  screw  fitting  into  a 
socket  in  the  bottom  of  the  extension,  so  that  the  Kodak  may  be 
firmly  locked  at  any  point. 

The  front  end  of  the  board  is  rabbeted  to  receive  an  ordinary 
printing  frame,  without  the  back,  for  holding  the  negative. 

The  negative  is  placed  in  the  frame,  with  the  emulsion  side 
facing  the  Kodak,  and  held  in  place  by  means  of  turn  hooks  or 
thumb  tacks. 

A good  strong  tripod  forms  a splendid  support  for  the  outfit,  or 
it  may  be  placed  on  an  ordinary  table. 

For  exposure,  a north  light  is  preferable,  and  one  unobstructed 
by  trees  or  buildings.  If  this  is  not  possible,  place  a sheet  of 
finely  ground  glass  back  of  the  negative  to  diffuse  the  light  evenly. 
All  windows  should  be  blocked,  except  a space  a little  larger  than 
the  negatives  used,  and  the  negative  placed  as  close  to  this  opening 
as  possible.  The  image  is  focused  on  the  ground  glass  panel  at 
the  back  of  the  extension  in  the  ordinary  manner,  after  which  the 
plate  holder  is  inserted  and  the  exposure  made  by  means  of  the 
shutter. 

As  the  speed  of  lantern  slide  plates  is  practically  the  same  as 
that  of  bromide  paper,  see  page  135  for  suggestions  as  to  exposure. 


Suggestions. 

Trim  your  prints  mercilessly.  It  is  safe  to  say  that 
Trim,  Trim,  three  pictures  out  of  every  four  can  be  improved 
Trim.  by  a judicious  use  of  the  shears.  One  picture  has 
too  much  sky,  another  too  much  foreground  and 
another  one  a whole  side  with  nothing  in  it  worth  keeping.  When 
a portion  of  a picture  has  nothing  in  it  that  is  interesting  or 
necessary  to  the  balance  of  the  picture  cut  it  out.  Note,  if  you 
please,  the  improvement  made  by  cutting  off  the  foreground  in 
the  accompanying  illustration.  Left  untrimmed,  as  in  Fig.  1,  the 


Fig.  1. 


Fig.  2. 

Illustrating  the  value  of  judicious  trimming. 


SUGGESTIONS . 


155 


picture  has  little  to  recommend  it,  but  with  a snip  of  the  shears 
we  have  cut  out  the  flat  uninteresting  foreground  and  have  secured 
a picture  of  far  more  than  usual  interest  and  beauty  (Fig.  2). 
Take  two  cards  and  experiment  with  your  photographs  if  you 
have  not  the  heart  to  attack  them  with  the  shears,  laying  the 
cards  on  them  in  such  a way  as  to  cut  out  from  view  what  seems 
to  be  undesirable  parts.  An  experiment  of  this  kind  will  soon 
satisfy  you  that  the  shears  can  be  used  to  advantage. 

Don’t  use  your  hypo  tray  for  anything  but  hypo. 

Helpful  Look  on  your  ground  glass,  not  through  it. 

Hints:  Keep  films,  plates  and  paper  in  a cool  dry  place. 

Label  your  chemical  bottles  and  keep  them  well 
stoppered. 

Always  dust  out  your  plate  holders  and  dust  plates  well  be- 
fore loading.  A speck  of  dirt  on  the  plate  will  leave  a transpar- 
ent spot  which  will  in  turn  leave  a black  spot  on  the  print. 

Film  cartridges  are  dirt  as  well  as  light  proof  and  so  the 
film  requires  no  dusting.  Dust  will,  however,  sometimes  settle 
on  the  sections  of  film  in  place  in  the  focal  plane  inside  the 
camera  if  a long  time  elapses  between  winding  the  film  into  posi- 
tion and  making  the  exposure.  A famous  lecturer  and  photog- 
rapher overcomes  this  difficulty  when  motoring  over  very  dusty 
roads  by  not  turning  the  key  until  he  sees  a picture  he  wants  to 
take — a very  good  idea  provided  you  don’t  forget  to  turn  the  key. 

Dust  on  the  film  after  exposure  does  little  harm  as  it  cuts  off 
no  light. 

When  in  doubt,  over-expose. 

Do  not  develop  in  warm  water  as  it  is  likely  to  cause  frilling. 
The  developer  should  be  about  65°  Fahr. 

A Saturated  Solution  is  one  in  which  the  liquid  has  taken 
up  all  of  the  solid  which  it  will. 

USEFUL  TABLES. 


AVOIRDUPOIS  WEIGHT. 

27.34  Grains=l  Dram  =27.34  Grains. 
16  Drams=l  Ounce  =437.5  Grains. 
16  Ounces=l  pound=7000  Grains. 


LIQUID  MEASURE. 

60Minims=l  Dram, 
8 Drams=l  ounce. 
16  Ounces=l  Pint. 


In  purchasing  or  weighing  chemicals  it  is  always  safe  to  use 
grains  as  the  standard  of  weight,  as  they  are  alike  in  Avoirdu- 
pois, Troy  and  Apothecaries’  tables,  while  the  other  terms  vary. 


NOTE. — Avoirdupois  weight  is  the  standard  used  in  compounding  photographic 
formulas. 


GLOSSARY  OF 

Photographic  Terms. 

Acid — A sour  substance  in  crystal  or  liquid  form,  being  a com- 
pound of  hydrogen,  in  which  all  or  part  of  the  hydrogen 
may  be  exchanged  for  a metal,  forming  a new  compound. 
Acids  have  the  power  to  decompose  most  carbonates. 

Aberration — A defect  in  a lens  causing  it  to  give  a distorted 
image  or  one  not  perfectly  sharp. 

Abrasion  Marks — Black  lines  or  markings  produced  on  the  sur- 
face of  photographic  paper  by  rubbing  or  pressure. 

Actinic — The  “actinic  rays”  of  light  are  those  which  produce 
chemical  changes  or  photographic  action. 

Accelerator — A chemical  added  to  a developer  to  bring  out  the 
image  more  quickly — carbonate  of  soda  is  commonly  em- 
ployed. 

Air  Bells — Bubbles  on  sensitized  surface  of  prints,  produced  by 
immersing  the  paper  face  down  in  the  developer  or  using 
too  small  amount  of  solution. 

Achromatic — Colorless;  applied  to  a lens  whose  chemical  and 
visual  focus  coincide.  (See  page  6.) 

Alkali — The  direct  opposite  of  an  acid,  and  with  power  to  neutral- 
ize acids  and  form  fresh  compounds  called  salts.  Sulphite 
and  Carbonate  of  Soda. 

Anastigmat  Lens — One  free  .from  astigmatism,  or  the  fault  of 
not  bringing  vertical  and  horizontal  lines  equally  well  to  a 
focus. 

Anhydrous — A chemical  term  signifying  that  a substance  is  ab- 
solutely free  from  water. 

Astigmatism — A defect  in  a lens  that  prevents  it  from  rendering 
vertical  and  horizontal  lines  equally  sharp. — See  Anastigmat. 

Backing — A coating  of  non-reflecting  material  applied  to  the  back 
of  a plate,  to  prevent  halation.  (Note. — Use  Eastman  N.  C. 
Film  and  avoid  halation.) 

Bath — A term  applied  to  a toning,  developing  or  other  solution. 

Bronzing — A metallic  appearance  in  the  shadows  of  a print,  due 
to  over-printing. 

Bubbles — See  air  bells. 

Burnisher — A device  for  securing  a high  gloss  or  polish  on  cer- 
tain photographic  papers. 

Concentrated — As  applied  to  liquid  preparations  means  that  the 
chemicals  which  comprise  them  have  been  dissolved  in  the 
least  possible  quantity  of  water. 

Contrasty — A term  applied  to  prints  meaning  hard,  “chalky”, 
extremely  black  shadows  and  white  highlights ; lacking  in 
detail  as  applied  to  negatives. 


GLOSS AR  Y. 


157 


Convertible  Lens — One  whose  parts  may  be  differently  arranged, 
or  used  separately,  so  as  to  produce  different  focal  lengths. 

Covering  Power — The  limit  within  which  a lens  is  capable  of  giv- 
ing a well  defined  image. 

Curvature  of  Field — A defect  in  a lens  affording  sharper  defin- 
tion  at  the  center  of  the  plate  than  at  the  edges. 

Definition — Clearness  and  sharpness  of  image. 

Dense — Applied  to  negatives  which  have  been  over-developed. 

Density — The  printing  capacity  of  a negative. 

Desiccated — Anhydrous.  Dry  powder,  not  crystals.  Applied  1o 
chemical  salts  from  which  all  water  has  been  removed. 

Developing-Out  Paper,  or  D.  O.  P. — Sensitized  paper  upon  which 
the  photographic  image  is  invisible  until  development  has 
taken  place.  Applied  to  “gas-light”  papers  or  those  printed 
by  artificial  light.  Generally  applied  to  papers  which  require 
longer  exposure  than  Bromide  papers. 

Depth  of  Focus — The  power  of  a lens  to  render  sharply  both 
near  and  distant  objects  at  the  same  time. 

Detail — The  definition  recorded  by  the  lens  of  the  minute  parts  of 
a subject. 

Developer — A chemical  solution  employed  to  bring  out  or  render 
visible  the  latent  image. 

Development — The  process  of  converting  the  latent  or  invisible 
image  on  a film,  plate  or  paper  into  a visible  image. 

Diffused  Light — Such  as  comes  from  a clouded  sky,  in  contra 
distinction  to  direct  sunlight.  Light  which  does  not  strike 
directly,  but  is  arrested  and  diffused  by  some  medium  such 
as  ground  glass. 

Diffusion  of  Focus — Throwing  the  image  a little  out  of  focus 
to  produce  a soft  effect. 

Distortion — An  incorrect  rendering  of  the  image. 

Dodge — To  dodge  is  to  prevent  light  from  striking  a portion  of 
a negative  when  printing  by  shading  that  portion  with  some 
opaque  body. 

Doublet — A lens  composed  of  two  separable  lenses. 

Embossing  Board — A device  for  producing  prints  having  counter- 
sunk margins. 

Emulsion — The  sensitive  material  used  in  coating  a film,  plate  or 
paper. 

Equivalent  Focus — The  distance  from  the  optical  center  of  a 
lens  to  the  ground  glass  when  focused  on  a distant  object. 

Exposure — The  act  of  submitting  sensitized  surfaces  to  the  action 
of  light. 

Ferrotype  Plate — A highly  polished  enameled  plate  of  thin  metal 
frequently  used  for  obtaining  a high  gloss  on  prints,  by 
drying  the  print  with  its  face  in  contact  with  the  plate. 


158 


GLOSS  A R Y. 


Fixing — The  process  of  removing  the  unacted  upon  silver  salts 
from  a negative  or  print,  usually  by  immersion  in  a solution 
of  hyposulphite  of  soda. 

Flare  Spot — A circular  patch  of  light  in  the  center  of  the  image 
caused  by  a defect  in  the  lens. 

Flat — Lack  of  vigor  or  contrast  in  a negative  or  print. 

Flatness  of  Field — That  quality  in  a lens  affording  sharp  impres- 
sions at  both  center  and  edge  of  plate. 

Focus — The  point  at  which  converging  rays  of  light  from  a lens 
meet,  forming  an  image.  A picture  is  said  to  be  in  focus 
when  all  details  are  sharp  and  well  defined. 

Focusing  Scale — A graduated  scale  for  different  distances,  affixed 
to  the  base  board  of  a camera,  which  permits  of  focusing 
for  any  given  distance,  without  using  a ground  glass  screen. 

Focusing  Screen — A sheet  of  ground  glass  at  the  back  of  the 
camera  on  which  the  image  is  focused  and  arranged  before 
exposure. 

Fog — A deposit  of  metallic  silver  all  over  the  plate  or  film,  in- 
cluding those  parts  which  should  not  have  been  affected  by 
light. 

Forcing — Attempting  to  bring  out  detail  in  an  under-exposed,  film, 
plate  or  print,  usually  by  the  addition  of  accelerator — liable 
to  produce  fog. 

Freaks — Peculiar  white  markings  caused  by  incorrect  developing 
solutions.  (See  page  115.) 

Frilling — The  puckering  up  .and  detachment  of  the  film  around 
the  edges;  happens  oftenest  in  hot  weather,  or  through  too 
much  alkali  in  the  developer.  (Easiest  avoided  by  employing 
tank  development.) 

Halation — A blurred  effect,  resembling  a halo,  usually  occurring 
around  a window  opening,  or  other  exceedingly  strongly 
illuminated  portions  of  the  image;  caused  by  a reflection  of 
the  rays  of  light  from  the  back  of  the  plate.  (Eastman  N. 
C.  Film  is  non-halation.) 

Half-Tones — All  gradations  between  highlights  and  deepest 
shadows. 

Hardness — Excessive  contrast  in  negatives  or  prints,  too  great 
difference  between  lights  and  shadows.— See  Contrast. 

Highlights — The  portions  of  a picture  upon  which  the  greatest 
amount  of  light  is  concentrated.  The  denser  portions  of  a 
negative  or  the  lightest  parts  of  a print. 

Hydrometer — An  instrument  for  testing  the  specific  gravity  of 
liquids.  (In  photography  the  silver  Actinometer.) 

Image — The  picture  thrown  by  the  lens  upon  the  focusing  screen, 
or  sensitive  film. 

Infinity — A lens  is  said  to  be  set  for  infinity  when  focused  at  a 
point  beyond  which  all  objects  are  sharply  defined. 

Intensification — Increasing  the  density  of  a negative  or  print. 


GLOSS A R Y 


159 


Latent  Image — The  image  impressed  upon  a film  or  plate  by  light 
action,  and  which  is  invisible  till  chemically  treated  by  the 
process  known  as  development. 

Latitude  of  Exposure — That  quality  in  a film  or  plate  which  allows 
of  variations  in  exposure  without  detriment  to  the  quality 
of  the  negative.  (Eastman  N.  C.  Film  has  this  quality  in 
the  highest  degree.) 

Lens — A circular  glass  or  combination  of  glasses,  optically  ground 
and  polished,  mounted  in  a metal  cell. 

Light  Filter — See  color  Screen. 

Light  Fog — A graying  of  the  image,  produced  by  an  unsafe  dark- 
room lamp,  or  accidental  exposure  to  white  light,  through  a 
defect  in  apparatus. 

Milky — Appearance  of  some  incorrect  fixing  baths.  Often  the 
results  of  using  impure  chemicals. 

Negative — A photographic  image  on  a plate  or  film  in  which  the 
dark  portions  of  the  subject  appear  light,  and  the  light  por- 
tions dark. 

Non-Actinic — Those  colors  or  rays  of  light  which  do  not  affect 
sensitive  emulsions. 

Orthchromatic — Color  sensitive.  A film  or  plate  is  said  to  be 
orthochromatic  when  it  is  sensitive  to  colors  of  the  spec- 
trum other  than  the  blue  and  ultra  violet.  (Eastman  N.  C. 
film  is  highly  orthochromatic.) 

Oxidation — As  applied  to  developer — a deterioration  due  to  the 
presence  of  oxygen.  An  oxidized  developer  is  dark  in  color 
and  usually  causes  discoloration  of  the  negative  or  print. 

Over-Exposure — Too  long  exposure  to  printing  light. 

Over-Development — Too  long  a time  in  the  developing  solution. 

Pin  Holes — Minute  spots  or  holes  in  a negative,  usually  caused  by 
dust  settling  on  the  surface  before  development. 

Pneumatic  Release — A rubber  bulb  and  tube  connecting  with  the 
valve  of  a shutter,  permitting  its  release  when  the  bulb  is 
pressed. 

Positive — A term  used  in  contradistinction  to  negative. 

P.  O.  P.  or  Printing-Out  Paper — Sensitized  paper  upon  which  the 
image  becomes  visible  on  printing  and  is  made  permanent  by 
toning  and  fixing. 

Printing  Frame — A specially  constructed  frame  for  making  prints. 
Holds  the  negative  and  sensitive  paper  in  contact  while  print- 
ing. 

Precipitate — A substance  which,  having  been  dissolved,  is  again 
separated  from  its  solvent  and  settles  to  the  bottom  of  the 
vessel  containing  it. 

Rack  and  Pinion — A screw  and  rack  adjustment  for  easy  and 
accurate  focusing. 


160 


GLOSSARY . 


Rectilinear  Lens — One  which  does  not  distort  or  show  curvature 
of  straight  lines  in  the  image. 

Reducer — A chemical  solution  for  decreasing  contrast  or  density. 

Refraction — The  change  in  direction  of  rays  of  light  when  passing 
through  a transparent  medium. 

Restrainer — A compound  or  solution  that  will  check  or  hold  hack 
the  action  of  the  developer.  Potassium  Bromide  in  weak 
solution  is  commonly  employed. 

Retouching — The  removal  or  softening  of  defects  in  a negative, 
by  the  application  of  pencil  or  color. 

Retouching  Medium— A solution  of  gum  and  turpentine,  applied 
to  the  negative,  to  afford  a “tooth”  for  the  lead  or  color 
applied. 

Reversal — The  image  or  portions  of  it  being  positive  instead  of 
negative  or  vice  versa.  Caused  by  extreme  over-exposure 
or  exposure  to  white  light  during  development. 

Shadows — The  thinner  portions  of  a negative  or  the  darker  por- 
tions of  a print. 

Soft — Term  applied  to  print  or  negative;  refers  to  lack  of  bril- 
liancy or  contrast.  A “soft”  print  will  contain  all  possible 
detail. 

Solarization — See  Bronzing. 

Spectrum — Solar— The  seven  colors  produced  by  passing  a ray 
of  white  light  through  a prism. 

Spherical  Aberration — A lens  defect — the  inability  to  bring  the 
marginal  and  central  rays  of  light  to  one  focus,  fesulting 
in  a loss  of  sharpness. 

Spotting — The  filling  in  of  spots  or  imperfections  in  a negative 
or  print  by  means  of  india  ink  or  color  with  a fine  brush. 

Squeegeeing — Placing  wet  prints  face  down  on  ferrotype  plates 
to  obtain  high  polish. 

Squeegee — Usually  a strip  of  soft  rubber  set  in  a handle,  or  a 
rubber  roller,  and  used  to  place  a print  in  contact  with  the 
ferrotype  plate. 

Symmetrical  Lens — One  whose  combinations  are  of  similar 
curves,  and  whose  combinations  may  be  used  singly. 

Ten  Per  Cent.  Solution — Approximately,  a solution  made  by 
dissolving  one  ounce  (by  weight)  of  dry  chemical  in  nine 
fluid  ounces  of  wafer. 

Tone — The  shade,  hue  or  degree  of  color  prevailing  in  a negative 
or  print. 

Thick — (See  Dense.) 

Under-Exposure — Too  short  an  exposure  for  perfect  results. 

Weak — Thin,  soft,  lifeless,  lacking  contrast. 


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